LEMENTARY 
CABINETWORK 



JRANK HENRY SELDEN 




Book s5 nJT 
CopglitiN" 



COPliRIGHT DEPOSnV 



ELEMENTARY 
CABINETWORK 

FOR MANUAL TRAINING CLASSES 



By 
FRANK HENRY SELDEN 

Director of Manual Traiiiing^ State Normal School, Valley City^ 

North J)akota. Author of '^Elementary Woodwork'^ 

and '■'•Elementary Turning'* 



RAND McNALLY & COxMPANY 

CHICAGO NEW YORK LONDON 



Copyright, iqoq 

By Rand McNally & Company 

Entered at Stationers' Hall 



■J CI. A 251 I IV' 



Chicago 



THE TABLE OF CONTENTS 



PAGE 

The Introducti07i 3 

Suggestions for the Pupil 7 

PART I 

General Directions for Cabinetwork 

Equipment for Elementary Cabinetmaking . . 9 

Selection AND Arrangement OF Material . . 11 

Mortises and Tenons . 14 

Chair and Stool Legs 35 

Paneling 45 

The Making of Drawers 53 

Shelving 56 

The Making of Tops 57 

Planing 67 

Veneering 69 

Backing 71 

Patching and Plugging 74 

Smoothing 79 

Clamping 84 

Fastening Tops to Frames 96 

PART II 

Type Forms of Cabinetwork 

Book Racks and Taborets 99 

Footstools 120 

Chairs i33 

Hall Seat 165 

Tables 169 



2 ELEMENTARY CABINETWORK 

PAGE 

Piano Bench 198 

Music Cabinet 206 

Clock Case 210 

Shoe Box and Costumer 211 

Wall Cabinet 215 

Ladies' Desk 219 

Bookcase . . 223 

Screens . 228 

Frames 231 

Hat Rack 239 

Umbrella Stand . 242 

PART III 

Description of Essentials for Cabinetwork 

Tools and ]\Iaterials 245 

The Index v 



THE INTRODUCTION 

THE AIM of this work is to make clear, through 
definite directions for making the articles illus- 
trated, the general principles of furniture construction, 
so that the pupil may apply them in making other 
articles from designs found in trade journals and else- 
where. Although this book is the result of a teacher's 
experience in manual -training schools, yet it will also be 
helpful for self -instruction in the home shop. 

Knowledge of the correct use of ordinary wood- 
working bench tools must be gained before any attempt 
is made in the construction of furniture. Such knowl- 
edge is imparted in the author's earlier volume, "Ele- 
mentary Woodwork." 

Elementary Cabinetwork is not to be used merely as 
a reference book at the instructor's desk, but is designed 
as an aid to study and is to be placed in the hands of each 
student. The instructor should see that the projects 
to be made by each pupil are of such a type as will 
demand a systematic study of the text. 

Though designing and cabinetmaking are different 
subjects, yet the peculiar arrangement of the text, the 
variety of designs presented, and the suggestions for new 
forms and combinations will be found to teach, in the 
most effective way, the elements of furniture designing. 

3 



4 INTRODUCTION 

It is assumed that the pupil already has such knowl- 
edge of the elements of woodworking and turning as 
may be gained from the author's preceding works on 
those subjects. This book aims therefore, to direct the 
pupil in further study through applying these elements 
to solving a series of typical problems in practical 
construction. 

For convenience of study the subject-matter of the 
book has been arranged in three parts : Part I presenting 
such general directions as seem needful to add to the 
knowledge which it is assumed the pupil has already 
acquired; Part II presents a series of tested problems 
in actual construction found to be within the ability of 
the pupils of the secondary school; Part III treats of 
certain special tools and finishing processes not described 
in elementary study. 

Suggestion rather than variety of designs, has been 
the aim. A few processes thoroughly learned and 
properly used in typical problems, are far better for 
educational purposes than attempts at greater variety 
made at the cost of incorrect practice, and the sacrifice 
of progressive study to a single exigency in mere con- 
struction. No provision is made in this work for the use 
of wood files and frame saws, because the author firmly 
believes that their use can easily be dispensed with. 
Moreover, their habitual misuse has not infrequently 
impaired the educational value of manual training in a 
marked degree. For a similar reason the use of the 
spokeshave has been reduced to a minimum. 

The value of the shop work depends upon intellectual 
activity rather than muscular reaction. Hence problems 
are selected which encourage thinking and the develop- 



INTRODUCTION 5 

ment of definite mental activities rather than problems 
which, by repetition of their processes, lead to skill or 
the power to perform certain operations by muscular 
reaction, the mind, meanwhile, being passive or but 
indefinitely active. 

The work of the pupil will be truly educational only 
in proportion as he is led to use his mind in each 
operation. Therefore, not only such problems as will 
tend to encourage mental rather than physical effort 
should be used, but the whole attitude of the pupil 
in his shop work should be one of study rather than 
one of acquiring skill by mere muscular repetition. 

No pupil is expected to construct every article 
described in the text, but by selecting a typical form 
from each group, he may readily master all the essential 
problems of elementary cabinetmaking. 

Upholstering is not taken up in this volume because 
of want of space for satisfactory treatment. 

The typical designs given herein may be modified 
in many ways without lowering their value as studies, 
and the instructor should aid pupils in devising adapta- 
tions of wood, finish, and upholstering, suitable for their 
special needs; taking special care to keep each design 
within the proper limits of a study. If there appear to 
be no controlling factors of this nature, let convenience 
of material be the guide. 

It is recommended, as promising greater educational 
service, that for school class-work the simpler forms of 
finishing and upholstery be employed, so that more time 
may be given to the study of woodworking problems. 
For this reason board and heavy leather seats have 
proved best suited for school use. 



6 INTRODUCTION 

Although the drawings in this book show exact 
dimensions, there is usually a very wide range for size- 
modification in the various parts of the designs offered. 
The text suggests only a few of these size-modifications; 
but in adopting any such, care should be exercised to keep 
the designs suitable for school work and adapted to the 
progress of the individual student. For example, avoid 
attempts to construct articles with very small tenons, or 
parts which may be crowded or sprung into position. 

Every part and joint should be of such form and size 
as will compel an intelligent and definite method of 
work. If there is carelessness, or indefinite method 
used, the result must be a failure. 



SUGGESTIONS FOR THE PUPIL 

It is especially urged that before the pupil attempts 
the construction of any article described in this book, 
he read all the general directions. As he proceeds with 
each piece he should repeat this, reading all of the refer- 
ences given in the text, until he has a clear understand* 
ing of all parts of the directions, and is able to recall 
each part as he has use for it. 

The purpose of the general directions is to give the 
pupil so clear an idea of the methods of combining two 
or more pieces, as to reduce the number of mistakes and 
the amount of spoiled material to a minimum. He will, 
therefore, save time as well as material by studying all 
of Part I before beginning any project. As he proceeds 
with the project, or type example selected from Part II, 
he will find references to various topics in Part I, and 
these, as well as all other topics that may assist in the 
work, should be thoroughly studied. If the pupil 
requires information not found in these topics, he should 
consult the index in the back of the book. Always 
proceeding on the supposition that the desired informa- 
tion is to be found in the book, he should continue to 
refer to the index until practically all information 
required for making any of the projects is found. 



8 SUGGESTIONS FOR THE PUPIL 

He should not attempt to make any article illustrated 
until he has learned to plane out of wind and straight. 
He should also learn to lay out and to make simple 
joints, and should be certain that they will be of correct 
shape and properly fitted, before attempting the study 
of any article containing combinations of joints. It 
is a waste of time to attempt the construction of any 
article, however simple, before gaining a knowledge of 
the more simple problems. 

It should be borne in mind, however, that this book 
does not include directions for planing, use of knife, try- 
square, and other fundamental studies in woodworking, 
these topics being treated at length in the preceding 
volume, "Elementary Woodwork." Hence, before 
attempting any project in cabinetmaking the pupil 
should make himself thoroughly familiar with the 
instructions given in that work. The fundamental 
knowledge of tool operations acquired through such a 
systematic study of that text, will not only add much to 
his interest in cabinetmaking, but will prove a saving of 
time when he attempts to make any project laid down 
in "Elementary Cabinetwork." 



PART I 
General Directions 

EQUIPMENT FOR ELEMENTARY 
CABINETMAKING 

The Care and Use of Tools. The first problem in 
cabinetmaking is to learn how to combine several 
simple pieces. The shaping and combining of pieces 
of irregular outline should not be attempted until 
the elementary principles of combining have been 
learned. 

It is, therefore, a matter of great importance that 
the equipment for elementary cabinetmaking be 
restricted to such tools as are required for plain, 
simple work only. This being the case, scarcely 
any more tools are needed for the first work than are 
used in elementary joinery. 

The equipment for each pupil and bench should 
be the same as that required to do the work given 
in "Elementary Woodwork." Such tools as are 
described in Part III should be kept in the tool 
room for general use. 

In all work in cabinetmaking, the tools should be 
kept in the best condition. Test the squares to see 
that they are correct. Examine the bench top for 



lo ELEMENTARY CABINETWORK 

any roughness that may injure the work. The jaws 
of the vise should also be examined and refinished 
if necessary. Keep each chisel ground to as thin 
an edge as is consistent with rapid use. Be espec- 
ially careful that the side which ought to be straight 
is straight to the very edge. The saws should cut 
freely but not roughly, as a rough end requires too 
much planing or chiseling. 

The pupils at work and the daily results of their 
work have furnished the material for the illustrations. 
No attempt has been made to produce a picture book 
of furniture designs. The aim has been to illustrate, 
in a very complete manner, such typical forms as 
experience has shown to be suitable for school use. 
Some of the pictures complement or supplement 
those given in "Elementary Woodwork." 

The illustrations, showing the various positions of 
the workers as well as the methods of clamping the 
work, illustrate general principles, and should be 
so understood rather than imitated in detail; yet 
great care has been taken to have every illustration 
correct in detail, as well as in general principle. 

To encourage the use of judgment and freedom of 
choice is the author's reason for giving more than one 
view of similar operations. A variety of illustrations 
of similar operations must not be understood to give 
unlimited license in the use of tools, for there is a 
best way to perform each operation; and no pupil 
or teacher should be satisfied with any but the best. 



SELECTION AND ARRANGEMENT OF MATERIAL 1 1 

The fact that many who are considered skilled 
workmen frequently use their tools in ways dif- 
fering from those shown in these illustrations, is 
not sufficient reason for rejecting the methods em- 
ployed in this book. Many workers use tools 
improperly because they have never been taught 
the correct way of handling them; or because the 
habit of improper use has become so fixed that they 
do not wish to change. That every method of work 
given in this book is in actual use by many of the 
most intelligent mechanics in this line of work is a 
fact that should not be lost sight of. 

SELECTION AND ARRANGEMENT 
OF MATERIAL 

Face Marks. The first point to be considered in 
cabinetmaking is the selection and arrangement of 
the material. Cabinet woods are expensive, and all 
are subject to defects. This renders the selection 
of perfectly clear pieces almost impossible. 

It remains for the cabinetmaker so to select and 
arrange the material that the defective parts will 
be entirely hidden or placed where they will be 
the least seen. After all has been done to place 
the defects where they will not be noticed, there 
may yet remain parts that will require patching, 
puttying, staining, or other treatment in order 
to present a correct appearance. 



12 ELEMENTARY CABINETWORK 

When much material is to be removed in working 
a piece, it is usually wise to select the best side and 
the best edge as the faces. After jointing them by 
removing as little material as possible, dress the 
piece to nearly or quite the exact size. Examine 
every part of the piece carefully and, if necessary, 
change the face marks to other sides and carefully 
square the new face corner. 

Before finally determining the face surfaces, you 
must consider carefully whether or not the face side 
and edge will be those most noticeable in the com- 
pleted articles. The idea of a face side must not be 
confused with the idea of a finished side or a best 
side or a side containing the best material. A face 
side or face edge or face corner is the one from 
which the measurements are made, and the one 
against which the head of the square is placed. 
The nature of the framework determines whether 
the face sides shall contain the best or the poorest 
of the material. 

As the final appearance of the piece is largely 
determined by the selection and location of the 
working faces, all possible care should be exercised 
in their selection. In each article (similar to the 
stool, Fig. 113) the face corner of each leg must be 
on the inside, so that the adjoining horizontal pieces 
will be at right angles, each being joined to a face 
surface. If either of the three remaining corners 
were to be the face corner, only one or neither of 



SELECTION AND ARRANGEMENT OF MATERIAL 13 

the pieces would join a face surface, and the joints 
would probably be poor or the stool out of square. 

In jointing the face surfaces be very particular 
to get the piece out of wind, and also free from small 
irregularities. When the pieces are placed together, 
a joint may be spoiled by a very short curve on the 
face of the piece. Such a surface may throw the 
entire piece out of true and cause much work. 
Do not attempt, therefore, to lay out the pieces 
until the faces are straight. A little time spent in 
the beginning on this part of the work will save 
much time later on. 

In selecting the face surfaces on the horizontal 
pieces, they should be so arranged that they will 
face each other. Usually the upper edge should be 
the face edge and also the better edge. However, 
when the piece is to be covered with leather or 
upholstering of any kind, the upper edge may be 
the poorer edge. If the piece has a streak of sap- 
wood on one edge, it is usually best to plan so 
that the upholstering will cover the sap wood. The 
importance of this selection always depends largely 
upon the nature of the finish which is to be given 
to the piece. 

If the article is to be finished in the natural wood, 
using only oil, wax, or some transparent finish, the 
sapwood must all be so placed that it will not show ; 
and pieces which contain streaks should be dis- 
carded if they can not be so arranged. If some of 
2 



14 ELEMENTARY CABINETWORK 

the darker stains are to be used, a little sap wood 
may show on the outer sides, and when paints or 
very dark stains are to be used, the sap wood may be 
used for any part. This applies only to such w^oods 
and stains as will color evenly on both sapwood 
and body- wood. 

Some hard-wood and many soft-wood saps will 
absorb finish so much more readily than the body- 
wood, that after staining they will appear of a 
very different shade than the body-wood. If you 
are not certain how the finish will act on the piece 
of wood you are working, take a scrap of the wood 
and test it before selecting the pieces. Finish the 
scrap carefully with plane, scraper, and sandpaper, 
or your test may deceive you. 

MORTISES AND TENONS 

Methods of Joining. From your study of "Ele- 
mentary Woodwork" you have learned of several 
forms of mortises and tenons. Now that you are 
famiUar with the forms of these joints, you should 
be able to combine them in the construction of 
framew^ork for various purposes. Do not make 
the mistake of thinking that you can learn to 
make the joint and combine it at the same time. 
When you are studying the methods of combining 
parts, you will have quite enough to attend to 
without attempting at the same time to learn 



MORTISES AND TENONS 



IS 



how to make joints. If you have not made each 
of the forms of mortise and tenon as given in * * Ele- 
mentary Woodwork," do so before attempting to 
lay out any piece of furniture. This will save time 
and material, and assure you better work and larger 
benefits in the doing. For convenience in explaining 
the various methods of laying out mortise and 
tenon work, we may divide the various forms of 
construction into two classes : First, those in which 
the piece is flat like the back of the large arm- 
chair (Fig. i); and second, those which constitute 
a framework similar to the footstool (Fig. 119). 

Each of these classes may be divided again into 
those which are forced together all in one direction, 
as the backs of the chairs 
(Figs. 150 and 159), or the 
sides of the chairs (Figs. 124 
and 147), and those which 
are forced together in two 
directions, as the back of the 
chair (Fig. 146) and the back 
of the hall seat (Fig. 162). 

You will readily under- 
stand that the joints in the 
first class are the easier to 
make, and also that those 
which are joined all in one ^'^- '■ ^^rmchair hack 
direction are the easier forms of each class. This 
should be considered when you select your project. 




i6 ELEMENTARY CABINETWORK 

All parts to be joined must first be dressed true 
on one face and on one edge. Usually, the other two 
surfaces are also jointed, yet this is sometimes 
omitted until after the parts are fastened together. 
In studying these forms of joining, we will consider 
■first the making of tenons of the simple forms and 
the mortises used with them (Fig. i), following 
these, in order, with directions for making such as 
are more difficult. 

Tenons. In designing chairs and tables, the 
sizes and arrangement of tenons are of consider- 
able importance. 

The arrangement of rails in Fig. 1 1 9 is such that 
the. tenons meet in the legs, and consequently are 
not so long as they are in Fig. 122, in which they are 
arranged so that they do not meet. As the latter 
arrangement is considerably stronger, it should be 
used wherever it will be in keeping with the design. 

The sizes of tenons need not follow an exact 
proportion to the size of the piece, but should be 
kept usually to certain standard dimensions in order 
to make the laying out more simple, as well as to 
avoid the use of a large variety of bits and chisels. 
This simplifying of sizes may be accomplished with- 
out any loss to the design or in the value of the 
exercise. 

For pieces J inch by 4 inches, and similar sizes, 
the tenon may be f inch by 3 inche's, or the next 
inch less in width below the width of the piece. If 



MORTISES AND TENONS 17 

the width is less than 2 J inches, the tenon may be 
the first J inch less in width than the width of the 
piece. Thus, if the piece is 3 J inches wide, after the 
tenon is worked to f inch thick and one edge of each 
tenon gauged, the gauge should be set to 3^ inches 
and the other edge gauged. The small variation in 
width from 4 inches should not be considered in 
making the tenon, and whatever variation there may 
be should be left at the back edge of the piece. 
This method not only simplifies the work, but also 
gives better results. This plan, however, cannot be 
used in places where equal spaces are required at 
each side of the piece, as in the back of some arm- 
chairs. In such places the tenons must be in the 
center of the piece. These exceptions are few com- 
pared with the many places in which the regular 
method may be used. 

The same principle should be followed in gauging 
for the thickness of a tenon. If a tenon is to be | inch 
thick on the end of a ||-inch piece, set the gauge 
first to i inch and then to f inch, having the back 
shoulder but -^ inch. If the piece were | inch, the 
back shoulder would be J inch, the same as the one 
at the front side. 

Mortises for Chair Backs. In Fig. 2 is shown how 
the two long sides, or stiles, of the back of a large 
armchair are laid side by side, face edge up, and 
with the face surfaces together or both outside. If 
one were outside and the other inside, the pieces 



1 8 ELEMENTARY CABINETWORK 

would not- face correctly when laid flat (Fig. 3). 
A clamp may be placed on the pieces in a manner 
similar to Fig. 1 1 ; but if you are careful you can dis- 




FiG. 2. Stiles — side by side for lining 

pense with the clamp unless you have more than two 
pieces to hold at the same time. 

Measure all of the pieces to see how much waste 
material may be cut off, and leave about half of thi;s 
waste at each end. 




Fig. 3. Stiles — flat, showing face marks 

Before marking the length of the mortises, exam- 
ine the short pieces, or rails, to see whether any 
change in the size of the tenon is required. Notice 
the difference in the location and size of the mor- 
tises at the top and bottom ends (Fig. 5, A and B). 
This is because at the top the stile projects beyond 
the rail and the mortise is not likely to cause the end 
to split. There is no projection of the stile at the 



MORTISES AND TENONS 



19 



I 

BlJ 



CL 



^l'\2 



i— 
\ 

-J— 



r 



bottom, and therefore the mortise is set farther away 

from the end. If the rails are full width, begin to 

lay out the mortises by drawing a line for the edge 

of the mortise next the end, on each stile (Figs. 

2, A and 4, A). 

Then measure 

the width of the 

mortise and 

draw a line on 

each stile for 

the other edge 

(Figs. 2, and* 4, 

B). Measure 

the total length 

of the stiles, and 

draw a line 

across their 

bottom end. 

Measure from 

this line to the 

lower edge of 

the mortise and 

draw lines (Fig. 

4, C). Lastly, 

draw the lines 

for the inner 

edge of these 

mortises (Fig. 4, D). Locate the other mortises 

and draw lines for each edge. In drawing all these 



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er 



% 



^^£\ 



Fig. 4. Armchair back 



20 



ELEMENTARY CABINETWORK 





L 






t ^Jl 

-Icvj 






K 

I 
I 

I 

L J 






Fig. 5. Detail of corner joints 



MORTISES AND TENONS 



lines, be careful not to draw them entirely across 
the piece, for if you do, they will show badly after the 
parts are put together. This is especially true of the 
mortises for the ends of thin pieces (Fig. 2). After 
you have become familiar with the methods of lay- 
ing out such work, you will measure all the spaces 
at one time and then draw all the lines. In this way 
you avoid changing tools so often. 

Tenons for Chair Backs. After the lines for the 
ends of all the mortises have been drawn, clamp 
the rails side by side, all the face edges down and the 
face sides of the upper and lower rails together. 
This is done so the face marks will be on the same 
side as the stiles and both face edges on the inside. 

Be sure that the clamp ends do not touch the 
bench, but are 
far enough back 
fromtheedgeto 
allow the head 
of the try-square 
to move along 
the edge (Fig. 
6). Place the 
clamp in the 
vise, then meas- 
ure on the edge 
of the rails the ^■°- *' ^'"""^ ^'"""^ "" ""' 

Space between the stiles, and draw lines as shown 
in Fig. 7. If the rails are too long, do not allow 




22 



ELEMENTARY CABINETWORK 



for cutting off at each end, but place all the pieces 
even at one* end and cut all the waste from the 
other end. If any piece is a little short, divide 
the amount between the two ends. A slight varia- 
tion in the length of 
the rough piece is 
often unimportant. 

The tenons at the 
ends of the thin pieces 
will be strong enough 
if they are only one- 
half inch long. 

After lines are 
drawn at which the 
waste is to be cut off 
and also at the inner 
ends of the tenons, 
remove the clamp 

Fig. 7. Draw^ngl^nes ^^^ ^^^^^ ^.^^^ ^^_ 

tirely around each piece, as you do in making -a blind 
mortise and tenon. (Elementary Woodwork.) 

Set the marking gauge first, for the lines nearest 
the face side and draw the lines for all the mortises 
and for the tenons on the upper and lower rails. 
Then set the gauge for the lines farthest from the 
face side, and draw the lines for the other side of the 
same mortises and tenons. Set the gauge again, 
and draw the lines for one side of the tenons on the 
thin pieces. Then set the gauge for the other lines, 




MORTISES AND TENONS 



23 



and draw a line on one end of the piece. Lay the 
end on a mortise and see if the line is correct (Fig. 8) . 
If it is not, adjust the gauge until the lines coincide 
with those of the mortise, and then draw the remain- 
ing lines. A mortising gauge will avoid the trouble 
of so much resetting. (See what is said about this 
gauge in Part III, page 267.) 

After the tenons have been worked to correct 
thickness, gauge them to width. Be sure to draw 
all the lines with the head of the gauge against the 
face edge. 

The tenons should fit to place without driving, 
but tight enough to require considerable force. 
Place the parts 
together in the 
clamps before 
applying any 
glue (page 84). 
See that every 
joint is perfect 
on both sides, 
then remove 
the pieces and 
smooth and fin- 

ish them as Fig. 8. Testing lines 

directed on page 79 before applying the glue. 

Length of Slats. In laying out work like the 
backs of Figs. 154 and 156, the sides and ends are 
lined in the same manner as Fig. i . After the four 




24 



ELEMENTARY CABINETWORK 



joints at the corners are finished, the pieces are 
placed together as shown in Fig. 9, and the space 

between the tenons 
on the slats is 
marked. This is a 
safe way to locate 
the lines. The 
length between the 
tenons may be 
found by measur- 
ing the space 




Fig. q. Measuring vertical pieces 
in chair back 



between the mortises on the stiles, and then sub- 
tracting the space from the edge of the tenon to 
the inner edge of the rail. In Fig. 156 it will be 27I 
inches — the distance between the mortises less ^-inch 
shoulder at the upper rail, and J-inch shoulder at 
the lower rail, making the length between the rails, 
or the length of the slat between the tenons, 26I 
inches. This may be verified by laying the rails in 
position and measuring between them. Unless 
the slats are too thin, make the tenons -f^ inch 
thick. You will discover that this size is easier to 
work than if they were thinner. This thickness 
also corresponds with that of the tenons on the ends 
of the rails. Were it not for the slats the tenons at 
the corners would be made f of an inch. Locate 
and work the mortises as any other blind mortise. 
Do not attempt to glue the slats in place before 
placing the stiles in position. Test all in the clamps 



MORTISES AND TENONS 



25 



before gluing any portion. Remove the clamps and 
smooth the surfaces as directed on page 79; then 
glue all at once, clamping as shown in Fig. 66. 

After the glue is dry, finish the outside surfaces 
as directed on page 83. See that both sides and ends 
are of equal thickness, also chamfer the upper 
ends of the stiles (Fig. 156.) The lower ends are 
dressed flush with the lower rail. Be careful not to 
make the chamfers too large, and be particular to have 
them all alike. (Directions for * 'Chamfering, ' ' page 43 . ) 

Laying Out Tenons for Chair Frames. If the 
tenons are to enter blind mortises, there is no need 
of truing the ends of the pieces or of drawing lines 
at the ends. The pieces should have been cut to 
the proper length in cutting up the stock. 

When the pieces 
are all of the same 
width, place them 
face edge up, and 
even the ends, as 
shown in Fig. 10. 
Place the clamp and 
try-square as shown 
in Fig. II. 

In locating the 
lines for the inside 
ends of the tenons, ^'°- '°- ^"^"'"^ P^'" 

lay the rule on the piece and determine how much 
stock can be used for the tenons. If the pieces 




26 



ELEMENTARY CABINETWORK 




are so long that they will need to be cut off, plan 
to cut all from one end; if they are a little scant, 
divide the material between the two. Tenons which 

are to enter blind 
mortises need not 
be all of exact 
length. It is a waste 
of time to attempt 
to make them ex- 
actly the length 
given in the draw- 
ing. They should 
always be made 
short enough not 
to reach closer 
than J inch from the rough bottom of the mortises 
in an ordinary chair or table leg. 

If the clamp is in the way of the try-square in 
drawing the second line, place a second clamp on 
the pieces (Fig. 12), then remove the first one and 
use the try-square again (Fig. 11). Compare these 
directions with those given on page 2 1 . 

Before clamping pieces together in this manner 
their sides must be parallel. If for any reason they 
are not parallel and cannot be made so, only one 
piece should be lined at first; then this piece 
should be laid upon each of the others and the spaces 
marked from it (Fig. 13). Do not attempt to 
measure each piece separately with the rule. 



Fig. II. Drawing line 



MORTISES AND TENONS 



27 




Exchanging clamps 



After drawing a line entirely across each end, 
remove the clamp and complete the lining on each 

piece separately. 
Set the gauge 
and draw the 
lines nearer the 
face side for all 
the tenons, 
drawing a line on 
each edge and 
across the ends. 
Set the gauge 
to the distance 
of the back side 
of the tenon from 
the face edge, and complete the lining. Saw and 
chisel the sides of the tenons. You will save time 
by doing the sawing for all the tenons at one time. 
After the sides of all the tenons are finished, gauge 
them all to width. Remove the waste with saw 
and chisel. These tenons are made h inch thick 
because they enter 
a piece which is 
more than i inch 
thick. (For further 
information see 
what is said con- 
cerning "Tenons," 

pages 16 and 21.) Fig. 13. Marking by superposition 




28 ELEMENTARY CABINETWORK 

Mortises for Footstools. Clamp the pieces to- 
gether the same as the rails (Figs. lo and ii), and 
draw the lines for the mortises in the same man- 
ner as before directed for tenons. 

Draw the knife lines only a part of the way 
across the piece, for if the lines are much longer 
than are required for the mortise, their ends will 
be visible after the work is finished (Fig. 2). 

Draw lines entirely across the piece for the fin- 
ishing of the ends. 

If there are other lines or marks which need to be 
alike on all the pieces, make them while the pieces 
are clamped together. If there is a chamfer at the 
end, draw lines for the chamfer with a pencil. 

Remove the clamp and draw the lines at the ends 
entirely around. If the mortises are alike on both 
sides, carry the lines around for the other mortises. 
If the mortises are not alike on both sides, place the 
pieces together so as to lay out the mortises at the 
other side, and clamp and line them in the same 
manner, except that, in this case, instead of evening 
the ends with the try-square, you adjust the pieces 
to the line at which the ends will be cut off. 

If there are no lines at the ends, small marks 
may be made at the corners opposite the ends of 
the mortises, and the pieces adjusted to these marks 
in clamping the second time. 

In cases where the mortises are not alike on all 
sides of the legs (Fig. 122), they may be set on end 



MORTISES AND TENONS 



29 



(Fig. 14) in the relative positions they will occupy 
when completed, and sketches may be made with 
a soft pencil on each surface showing the relative 
position for each mortise or other joint. Some- 
times the top ends, the position of arms, and other 
details, require being indicated in this way. 




Fig. 



14. 



Sketching position of mortises 

Do not attempt to mark these places exactly. 
A free-hand sketch indicating the places is all that 
is required or necessary, as the pencil marks are 
simply to avoid making the mortises on the wrong 
sides or at the wrong ends. 



30 ELEMENTARY CABINETWORK 

After the knife lines for all the mortises are 
drawn, set the gauge and draw the gauge lines 
nearer the face edge for all the mortises. When this 
is done set the gauge for the lines farther from 
the face edge and draw all these lines. As soon as 
the gauge has been set for the second side of the 
mortise, test it by drawing a short line and com- 
pare the space with the width of the tenon, similar 
to the test shown in Fig. 8. Bore the holes and 
work the mortises the same as in working the blind 
mortise. (Elementary Woodwork.) 

You will save much time by laying out all the 
mortises and boring all the holes at one time before 
doing any work on the mortises with the chisel. 
Be careful to have every mortise of the proper size 
at the bottom end and also square with the surface. 
The squareness of your work depends very much 
upon your mortises, therefore you should be very 
careful to make them correct. 

Testing a Mortise. There are many makeshifts 
employed by inexperienced persons to determine 
whether a mortise is square with the surface and 
of the same size at top and bottom. Do not get 
into the habit of using such devices. Be very care- 
ful to bore the holes straight, and they will aid 
you at first in working the mortise. After the 
sides are nearly finished, use the edge of the chisel 
against the side and also against the ends of the 
mortise as described in "Elementary Woodwork." 



MORTISES AND TENONS 31 

Do not attempt to work the mortise, even in soft 
wood, without boring holes, and bore as many holes 
as are required to leave but a very small amount of 
waste material at either end of the mortise, and 
between the bit holes. Be sure to bore the two end 
holes quite near to the end of the mortise, even if 
you are obliged to bore both end holes before boring 
all of the other holes. 

Use a chisel a little narrower than the mortise for 
working the ends. The sides may be worked with a 
J-inch chisel no matter how long the mortise. A 
wider chisel might be used, but in most cases it is 
not worth while to get it from the tool room for the 
very small saving in time, and besides you will 
learn more by using the |-inch chisel. 

Mortises in Chair Legs. If the pieces are not 
straight, they cannot be handled in the same manner 
as are the footstool legs (page 28). To lay out the 
mortises on legs for chairs similar to Figs. 124 and 
147, it is necessary to sketch first the positions of the 
mortises, as on the stool legs (Fig. 14), and then to 
lay all face down on the bench the same as you do 
the rails (Fig. 10). Be sure to set the clamp far 
enough from the edge to allow room for the try- 
square head (Fig. 6) ; then place the clamp in the 
vise (Fig. 15), and lay off the mortises. The loca- 
tion of the mortises in the back may be determined 
by first making marks at the corners and then carry- 
ing these marks across the edge after the clamp has 



32 



ELEMENTARY CABINETWORK 



been removed. These marks, much exaggerated, are 
shown in Fig. 15, as are also the Hnes on the edge. 

If the mortises on the other sides of the legs are 
the same as on this side, the lines may be carried 
around after the clamp has been removed. If they 




Fig. 15. Lining chair legs 

are not alike, small marks locating them should be 
made at the corners before the clamp is removed. 

The proper corner in which to place the marks 
is indicated by the position of the visible face mark. 



MORTISES AND TENONS ^^ 

The legs may be clamped together ; the two back 
ones side by side with their face marks together, and 
the two front ones also side by side and their face 
marks together, but this need not necessarily be done 
if they have been properly straightened and squared. 
Those photographed were placed with the front legs 
at the center to show the lines on the back legs. 

After the ends of the mortises have been located, 
they are lined and w^orked the same as those in foot- 
stool legs (page 30). 

In locating the side lines for the mortises for the 
two back rails, place them so that the top edge of the 
upper rail is near the center of the width of the leg 
at the top, and draw gauge lines parallel with the 
face from these points, making both rails of equal 
distance from the face. 

Keyed Construction. Whether joints held in 
place by w^ooden keys are a mark of superior work- 
manship or a relic of past times, like the ox cart 
and wooden plow, must be decided by each person 
according to personal preference and understanding. 

Many of the articles illustrated in this book may 
be joined by using one or more keyed tenons. The 
footstool (Fig. 119) may have the long side rails 
secured in this manner. In Fig. 123, all of the 
rails may be keyed because they are so arranged 
that all may pass entirely through the legs. 

In the chairs, a part of the tenons may be keyed 
and a part left blind, as shown in the figures. In 



•34 



ELEMENTARY CABINETWORK 



Fig. 128 keyed tenons may be used on the top and 
bottom back rails and the wide front rail. For 
pieces of this width, the tenon and key should be 
about the proportions given in Fig. 16. 



I 
I 
1 
I 



n 



? 



kAnV^ 




i> 



i 



^^' 



^ 



1;^ 



.._.-lt 



i 



N^ 






7 



Fig. 



Tenon and key 



Figs. 87 and igod give other suggestions as to 
sizes of keyed mortises and tenons. 



CHAIR AND STOOL LEGS 35 

Doweling. Before deciding whether the parts 
should be joined by mortises and tenons or by dowels, 
you should consider the nature of the material, the 
sizes of the parts, the strength required, and the 
amount of labor to be put upon the article. 

To say that dow^els mean inferior workmanship 
is certainly incorrect; they are sometimes, but not 
always, better than tenons. On thin or soft wood 
they are generally better than mortises and tenons. 
In the desk (Fig. 211) where the edges of |-inch 
pieces are joined, dow^els are better than tenons. 
This is especially true in joining the upper rail, as 
the dowels in the ends of this piece are sure to hold 
better than one or two tenons at each end. Were 
the upright pieces if inches thick, probably a mor- 
tise and tenon would be better. 

Dowels are often useful in other places — in con- 
necting the upper and lower parts of the desk 
(Fig. 211), and also in securing the arms to the top 
of the chair legs (Fig. 150). Dowels should not be 
used in glue joints. 

CHAIR AND STOOL LEGS 

Different Kinds of Legs. Legs for chairs and 
footstools may be divided into five classes "or kinds 
for convenience in describing methods of making 
them. The first of these classes includes those which 
are rectangular in section, sides parallel and straight 



36 



ELEMENTARY CABINETWORK 




(Fig. 17) ; the second, those 
which are rectangular 
in section and straight and 
tapered all or a part of the 
length (Figs. 188 and 21); 
the third, those which are 
not straight yet are of 
rectangular section and 
without curves (Fig. 18) — 
curved legs are not treated 
in this volume; the fourth, 
those which are turned a 
part of the length (Fig.- 19) ; 



Fig. 17. 


Fig. 18. 


Straight 


Bent 


octangular 


rectangular 


leg 


leg 



and the fifth, those turned 
the entire length (Fig. 20) . 
A part of a leg can be 
turned to a plain cylinder, 
and dressed by hand to an 
octagon or a hexagon. 

The first step in work- 
ing any of the forms, 
except those which are 
turned. the entire length, 
is to dress a face side. 
This face side is on the 
inside, or invisible side. 




Fig. 19. 
Part 
turned 



Fig. 20. 

All 
turned 



CHAIR AND STOOL LEGS 



37 



of the piece when the chair or footstool is completed. 
It is, therefore, the surface which ought to contain 
the defects. (See what is said about face sides 
under topic "Face Marks," page ii.) 

Rectangular Legs. Legs of the first class are 
shaped by the same method of working as is used 
in squaring the first piece. (Lessons i to 5, "Ele- 
mentary Woodwork.") If the ends are not finished 
until after all the mortising has been done, there 
will be less liability of the corners being injured. 

Tapered Legs. In making legs of the 
second class, which are tapered the entire 
length, the face side and face edge are 
jointed by the methods given in "Elemen- 
tary Woodwork" (Lessons i and 2). After 
these two faces are straightened, the third 
surface is lined by marking the width at 
each end, and using a straight edge with 
which to draw a pencil line. The fourth 
side is marked in the same manner, either 
before or after the third side has been 
finished. The surplus material may be 
removed either by planing or by ripping 
and finishing with the plane. 

If the taper extends but a part of the ^^^ 
way (Fig. 21), the piece is made straight and square 
on all four sides for the entire length ; then the lines 
are drawn for the taper, and the piece is worked 
to these lines. If all four sides are to be tapered 




Fig. 21. 
Tapered 



38 



ELEMENTARY CABINETWORK 



(Fig. 21 or Fig. i88) to make the lining easier, you 
should line and taper two opposite sides first and 
then the other two sides. If the leg is to receive a 
mortise near the tapered part, it is usually better to 
do the mortising before doing the tapering. This 
method is also better in making short legs, such as 
those for footstools (Figs. 113 and 117). The amount 
of taper given legs for chairs, tables, and other articles, 
may vary from J inch at each side, as in Fig. 2 1 , to 
any amount that you may wish. Usually, on small 

legs the smaller amount 
is to be preferred. The 
greater taper may appear 
well at first but in time 
such pronounced forms 
become tiresome. 

On legs which are ta- 
pered the entire length 
(Fig. 188), a tapered 
piece may be used under 
the head of the try- 
square (Figs. 22 and 23). 
Use these in laying out 
the mortises, and in lin- 




FiG. 22. Tapered piece on 
head of try-square 



ing the ends of the rails, as they must correspond to 
the taper of the legs. To make this piece, select a 
piece of hard-wood about J inch square, and with 
the ripsaw cut a kerf in it about two inches long. 
Taper the piece and slip it over the try-square blade. 



CHAIR AND STOOL LEGS 



39 



After the legs have been smoothed and the 
tapers finished, test the try-square and tapered piece 
by applying them first to one side and then to the 
other, and changing the taper, if need be, until lines 
drawn from either side will coincide. 

The tee bevel may be used in a similar manner,' 
but this is so often accidentally changed, and is so 
difficult to use, that the tapered strip, as described, 
is usually better. 

Legs of the Third Class. Legs of the third class 
are more difficult to make because the plane will not 
cut readily at angle H, Fig. 24. These legs may be 
laid out by drawing lines 
as shown, but it is usual 
to lay out a thin piece of 
board in this manner, 
and then use it as a pat- 
tern. This will save time 
if more than one pair 
of legs is to be made, 
and will also save mate- 
rial, for the pattern can 
be laid on the stock and 
tried in several positions 
until the best place is 
found. If only one pair 
of legs is required, time will be saved by jointing 
the face side before they are cut from the stock. 
If they are cut out before the face side has been 




Fig. 23. Tapered piece on 
head of try-square 



40 



ELEMENTARY CABINETWORK 




a 



•*~ct 



made straight and out of wind, they can be exam- 
ined by holding the same as in sighting a straight 
piece in working the first surface. Care must be 

taken to have the surface 
A (Fig. 24) straight from 
end to end before looking 
for wind. After this sur- 
face is correct, finish 
surface B (Fig. 24) and 
mark it, then surface C. 
Set the gauge for the 
thickness and gauge 
entirely around the piece, 
the head of the gauge 
resting against A, which 
is the face edge. Dress 
the surface D ; and then, 
with the gauge set the 
same as for the thickness, 
gauge for surface E, 
which is opposite B. 
Mark the width at the 
top end, and with a 
straight edge draw a line 
Fig. 24. Back chair leg fo^ the surface F. Plane 

E and F, turning the plane when near the angle H, 
as shown in Fig. 25. 

Run the plane straight, as near as you can. It 
is not necessary that the angle be finished entirely 



*-& 



a-*- 



CHAIR AND STOOL LEGS 



41 



to the line. It is much easier to leave about -g-V inch 
at the vertex ; and this also results in a better form. 




The slight roughness caused by planing across the 
grain can be removed with a scraper when the final 
smoothing is done. 




Fig. 2^. Using round bottom plane 



42 ELEMENTARY CABINETWORK 

When many legs of this type are to be dressed, 
a plane may be fitted especially for the work. This 
may be done by attaching a false bottom to a plane, 
or by rounding the bottom of a plane. A wooden 
bottom Bailey plane, rounded for such use, is shown 
in Fig. 26. 

Legs of the Fourth Class. The fourth class, or 
legs turned a part of their length, may be squared 
either before or after turning. Usually, it is better 
to have the blanks carefully squared in the machine, 
and the hand- jointing of the pieces done after the 
turning has been completed. 

In planing the sides after turning, care should be 
taken not to make any flat places on the turned part 
of the pattern. To avoid this, all turned surfaces 
should be a little below the surface of the square. 

Legs of the Fifth Class. The fifth class, or legs 
which are to be turned their entire length, ought also 
to be squared in the machine, as this will assist in 
sizing them and avoid mistakes in centering and 
selecting the top end. Such legs should be so shaped 
that the rungs may enter the larger parts of the pat- 
tern as shown in Fig. 20. 

Finishing Ends. As the ends of pieces are often 
quite conspicuous, the style of finishing them is 
very important. The most common form, known 
as a chamfered end, is shown in Fig. 27. Another 
form, the rounded end, is shown in Fig. 28. Occa- 
sionally, the tapered end shown in Fig. 29, is used. 



CHAIR AND STOOL LEGS 



43 




Fig. 27. Chamfered 
end 



The methods of working all the forms are similar. 

Pencil lines should always be used instead of knife 

lines in laying out the ends for 

any of these forms of finish, as a 

knife line may remain visible 

after the end has been finished. 
All of these forms should be 

carefully sandpapered. Do not 

use sandpaper on a block for this 

purpose, but use it in the hands as 

shown in Fig. 30. If the end is 

quite large, a block may be 
used on edge for a part of 
the sandpapering. Be sure 
that it does not extend over 
the edges, for if it does, it will 
certainly spoil the lines that 
should be sharp and clean cut. 
Chamfering. In making the 
Fig. 28. Rounded end common chamfer (Fig. 27), lines 

are drawn on the sides and on 

the end, an equal distance from 

the corner. For legs i } inches 

square these lines should not 

be more than \ inch from the 

edge; on |-inch pieces, these 

lines should not be more than 

■^ inch frorri the edge, and in 

many cases, i inch is better. Fig. 29. Tapered end 





44 



ELEMENTARY CABINETWORK 




Fig. 30. Sandpapering^ end 



The lines should be care- 
fully drawn and the cham- 
fered surface exactly 
straight in both ways. 
The chamfers should be 
exactly alike, as the least 
variation shows badly. 
Hold the plane as in cham- 
fering the pieces for the 
bench-hook ( Elementary 
Woodwork), so that the 
comers will not split. 
Tapered End. The tapered end is made in the 
same way, except that the 
lines on the ends are drawn 
across the center, as shown 
in Fig. 31, and the surface is 
worked to these lines. After 
two opposite sides are finished 
(Fig. 32) the other sides are Fig. 31. End lined 
worked to shape, giving the form shown in Fig. 29. 

Rounded End. The 
rounded end (Fig. 28) is 
made in the same way as 
the tapered end, except 
that the surfaces are planed 
to a curve instead of being 
^ . , , planed fiat. This is a very 

Fig. 32. Two sides of -^ 

end worked difficult form to make. 





PANELING 45 



PANELING 



The Best Methods of Paneling. There are many 
ways of doing paneling, but for all ordinary work, 
the following methods are best. 

The chief difficulty with paneling is, that unless 
every piece is carefully jointed so as to be straight 
and out of wind on the face surface, and straight and 
square at the face edge, the panel will be in wind 
when the pieces are all together, and there is then 
no way of getting it out of wind. 

If each step in the work is properly done the 
panel will be flat and square. Usually the outer 
edges and back sides of the stiles and rails are not 
jointed until after the parts are put together. 

Two Important Methods. There are two impor- 
tant methods of making paneling, and you must 
decide which you will use before beginning work. 
The first, and the usual method in manufacturing 
establishments, is to cut the groove for the panel 
the entire length of both rails and stiles. This 
requires a haunched mortise and tenon, or, as is 
often the case in cheap work, a tenon only as long 
as the groove is deep and fitting it in width. The 
other method is to make the joints at the corners the 
same as if no groove were to be cut, and then to 
plow the rails full length and work the grooves in 
the stiles only so far as is necessary to receive the 
panel. As this cannot be done with the plow, it 



46 ELEMENTARY CABINETWORK 

requires considerable time. If the stile is long the 
groove may be worked a short space at each end 
with gauge and chisel, and finished with the plow. 
In working a groove with a chisel, score it similar 
to working the rabbet (Fig. 230). 

If the groove is to extend the entire length of the 
stiles and the haunched tenons are to be used, the 
mortises and tenons should be worked before plowing 
the grooves. They should be so placed that after 
the grooves are made, the mortises and grooves will 
be in line. Usually, the tenon should be the same 
width as the groove. 

The manner of laying out and working the mor- 
tises and tenons is the same as described in making 
the back for the chair (Fig. i ) , except when the tenon 
is haunched instead of plain. This style of tenon is 
described in "Elementary Woodwork." In other 
respects the sizes of joints are the same as in similar 
sized stock for other places. Dowel joints are often 
much better than mortises and tenons for paneling. 
Holes for the dowels may be bored and then the 
stiles and rails grooved the entire length without 
regard to the location of the dowels. A plug would 
then be used in the ends of the grooves which are 
visible after the parts are together. 

Plowing the Groove. After the mortises and 
tenons have been worked, set the plow (Fig. 281) 
and make the groove for the edges of the panel. Be 
particular to have the fence of the plow on the face 



PANELING 



47 



side and the groove in the face edge. Note care- 
fully what is said under the topic "Face Marks," 
page II, before beginning to make the grooves. 

For ordinary panel work in |-inch thick stock 
the grooves should be -^ inch wide and | inch deep. 
These sizes should be used, unless the size of the stock 
makes some other size of groove necessary. 

You will see by referring to Figs. 216 and 217 
that it is not necessary to locate the panel in the 
center of the edge of the stile, nor that the stiles and 
rails should be of the same thickness or width. For 
convenience in working, the stiles and rails are usu- 
ally flush on the face side. The sizes for the various 
parts used in paneling are indicated by those given 
in the drawings (Figs. 34, 35, 36, and 38). These 
may be modified to suit 
any particular case. 

Securing the Panel. A 
common mistake in panel- 
ing is that of gluing the 
edges of the panel to the 
rails. This should not be 
done because, if the edges 
are glued, there will be no 
chance for the panel to 
shrink or swell, which is an l"^^- 33- Gl^e block on panel 
important feature in panel work. The panel should 
fit snugly in place, but not so tight as to spring 
the rails instead of moving in the -groove. 




48 



ELEMENTARY CABINETWORK 

T 




PANELING 49 

A little glue may be placed at each end near the 
center to keep the panel from moving to one side. 
This is sometimes accomplished by a glue block at 
each end on the inside, as shown in Fig. 33. A 
brad driven in at the same place may do quite as 
well for some work. 

The stiles and rails for the various forms of panel- 
ing shown may be the same, the panel being the 
important difference. The various forms may be 
grouped in any of the many combinations seen in 
doors, furniture, and wall-paneling. 

Forms of Panels. The form to be used must be 
determined by individual needs and special condi- 
tions. In the shoe box and costumer (Fig. 204) are 
shown the four styles of panels in use. Figs. 34, 35, 
36, and 38 are detailed drawings of these panels. 
You should have no trouble in making panels for 
any piece of furniture. You need only to alter the 
sizes given in these drawings, and then work the 
pieces in the same manner as directed for these 
typical forms. 

Plain Panel. The panel shown in Fig. 34 is 
simply a plain board of the same thickness as the 
groove in the rails and stiles. It is placed in position 
as the rails and stiles are put together. All necessary 
scraping and sandpapering should be attended to 
before it is put in place. 

Flush Panel. In making a flush panel (Fig. 35), 
simply rabbet around the piece so there will be an 



so 



ELEMENTARY CABINETWORK 



outer edge, or tongue, to enter the groove ; the re- 
mainder of the panel being of full thickness. Such 
panels may be finished by planing them flush with 
the stiles and rails after the parts are glued together. 




9f 



ri>s^^\\\\\\^\\\\\\\\\\^<.^ 



^s^^'A 



^Section at a~b 






^H 



/S' 






/4i"- 



-^^^ 



■/4-' 






F^ 




ii^* 



Fig. 36. Raised panel 

If there is any likelihood of the panel swelling, a 
space must be left at the sides between it and the 
bottom of the grooves and at the edge of the stiles. 
No space need be left at the ends, as the panel will 
not swell endwise. 



PANELING 



51 




Raised Panel. In making a raised panel (Fig. 36), 
the piece is first dressed to the thickness of the 
thickest part of the panel, and then the central 
raised portion is 
laid out with a 
pencil. The thick- 
ness at the edge is 
marked with a 
gauge, and the 
outer portion plan- 
ed to an even taper 
to the edges, mak- 
ing the edges of a Fig. 37. Raising panel 

proper thickness to fill the grooves at the edges. 

In planing across the ends, the plane should be 
held at an angle of about 45 degrees (as shown in 
Fig. 37). You will notice that the piece enters the 
grooves about | inch, and therefore it is necessary 
for it to be a little thinner at its edges than the 
width of the groove. 

If both sides of the panel are visible, both may be 
raised in the same manner, or one may be plain. 
Sometimes one side is raised and the other made 
flush, as the outer surface of Fig. 35. This makes a 
very solid panel. 

Elevated Panel. The elevated panel (Fig. 38) 
is similar to the raised panel but requires thicker 
stock, because it must be fitted into the groove in 
the framework and also be itself grooved, so that 



52 



ELEMENTARY CABINETWORK 



its elevated surface will cover the edges of both rails 
and stiles. This is necessary to make a joint which 
will remain tight and which can be properly finished. 
Fig. 39 is a view of the edge showing the groove. 
The finished surface is worked in the same way 




.^^ 



/6' 



^6i 



y^r- 



-i\,f^ 



5; 



J-t 



/?^ 



Fig. 38. Elevated panel 

as the raised panel. It may be flat, with square 
edges slanted to each side and end, or oval. The 
panel should be finished before it is put into place. 
The rails and stiles, being partly covered by the 
panel, must also be smoothed ready for sandpaper- 
ing on the panel side before they are put together. 



THE MAKING OF DRAWERS 



53 




This style of pan- 
eling is especially 
suitable for the 
tops of chests and 

Fig. 39. Edge of elevated panel for similar posi- 

tions because it will sustain considerable weight. 

THE HIKING OF DRAWERS 

Kinds of Joints. When you have a drawer to 
make, the first thing to do is to decide on the kinds 
of joints you will use at the corners. The joints ordi- 
narily used on fine work are the half -blind dovetail at 
the two front corners, and the common open dove- 
tail at the two back corners. A very good joint 
for the front is shown in Fig.' 40. A joint easier to 
make is the simple 
rabbeted joint shown 
i n "Elementary 
Woodwork." The 
grade of work you are 
doing and the amount 
of time you may w4sh 
to spend on it, must 
determine your choice 
in selecting the styles 
of joints. If you use 

1 • -u-L- J. 1 • • ^ Fig. 40. Drawer joint 

a plain rabbeted joint ^ 

at the front end, the back end should be a simple 

square butt joint, secured by nailing. 




54 



ELEMENTARY CABINETWORK 



1 



The Front. After deciding upon the styles of 
joints the next thing is to make the front. Be sure 
that it is a little too large, so you can dress off the 

top edge, the bottom 
edge, and the ends 
after the drawer is 
completed. There 
must be a little space 
between the front and 
the rails or the drawer 
will not work well — 
one-sixteenth of an 
inch, if the work is 
A'arnished, usually is 
not too much space 
at the top edge 
between the drawer 
front and the upper 
cross rail. This may 
be reduced one-half at 
each end of the front. 
The Sides. Next after the front, get out the sides 
and back end. Glue together the pieces for the 
bottom so they will be ready when needed. 

Make the groove for the bottom in both sides 
and front and then make the joints for the comers. 
In making these joints, you must watch the face 
marks carefully, so that when the parts are all 
together they will all face properly. 




Fig. 41. Inserting drawer bottom 



THE MAKING OF DRAWERS 



55 



The Bottom. After the sides and ends are together, 
smooth the bottom and slide it to place by shoving 
it into the grooves from beneath the back end (Fig. 
41). After it is in place, drive a nail up through the 
back end of the bottom into the back end of the 
drawer and dress off any extra width of the bottom. 



/d- 



i' 






Fig. 42. Drawer 



J 



Tizm 









Figure 42 gives the usual dimensions of parts for 
drawers, using a |-inch thick front. Fig. 41 has 
short sides and ends in proportion to the thickness of 
the front, so as to show the joints in the photograph. 



56 ELEMENTARY CABINETWORK 

SHELVING 

Adjustment of Shelves. Before completing the 
design for any furniture containing shelves, go over 
the requirements thoroughly in order to be sure 
that you will have the correct spacing for the 
shelves, so that when the article is complete you 
will have secured the greatest possible amount of 
useful space. 

Although shelves can rarely be fitted exactly to 
the books or to other articles to be placed upon them, 
yet you may so classify those articles as to economize 
space by varying the distance between shelves. 
This will often result not only in finding room for 
more shelves but also in improving the appearance 
of the design. 

Nearly all bookcases manufactured for sale have 
some arrangement for adjusting or changing the 
spacing of the shelves. This provision should not 
be overlooked in designing such bookcases. 

Selection of Material. Another item of much 
importance is the selection of material for the shelves. 
This should be of straight-grained stock, and also 
of some kind of wood that will sustain the required 
weight. If the wood of which the other parts of 
the case are made is not suitable for shelves, or is 
too expensive for such use, the shelves may be made 
of a different wood and a thin strip of wood, like 
that of which the case is made, glued to the front 



THE MAKING OF TOPS 



57 



edge of each shelf. In most cases this strip should 
be considerably thicker than a veneer, so that it 
can be rounded or worked to some ornamental form 
to correspond with the moldings about the case. 



THE MAKING OF TOPS 

Glue Joints. Considerable credit is due to any 
pupil who can make a good glue joint ; and even more 
credit to one who can properly select and arrange 
the pieces for 
gluing. Although 
the making of a 
good glue joint is 
a credit to any 
pupil, it can be 
done by any one 
who understands 
how to use a 
plane. It is not 
so much a matter 
of skill, as of 
knowing the cor- 
rect process. The 
difficulty in mak- 
ing these joints 
is, that the pupil 
does not under- _ _ . . , . . 

Fig. 43. Examining a glue joint with a 
stand exactly straightedge 




58 ELEMENTARY CABINETWORK 

how to use his plane on ordinary surfaces. For this 
reason, a glue joint is a very appropriate test for all 
pupils using planes. 

Allowing for Waste. First determine the thick- 
ness of the stock which will be required to give the 
correct thickness after the joints are together and 
the surface dressed off. Usually J inch to i inch in 
thickness is used in truing the surfaces. From 
boards of the proper thickness, select those having 
suitable grain. It is not only important that the 
pieces be of sound stock and well seasoned, but also 
that the pattern or figure, resulting from the combi- 
nation of the grain in the various pieces, be pleasing. 
Sometimes it is necessary to dress the surfaces quite 
carefully before deciding what pieces to use. The 
way of the grain on the face surface of each piece 
must be indicated (Fig. 43), so that after all the 
pieces are glued together they m.ay all be planed 
from the same direction. 

Quarter Sawing. Another matter of importance 
is, that table tops and similar parts should have the 

iVinnn\\\\\w///m ^^^;^^\ ^/^^^ f ^ 

>2 nearly right angles 



Fig. 44. Arrangement of qiiarter-sawcd tO the SUrfaCC aS 

^"^"^" shown in Fig. 44. 

This is secured by selecting the board sawed from 
across the center of the log (Fig. 45) in common saw- 
ing, or by sawing all the log as shown in Fig. 46, 
which illustrates four ways of quarter-sawing. 



THE MAKING OF TOPS 



59 



In case no quarter-sawed stock is obtainable, the 
pieces should be ripped to not more than five inches 
wide and glued together, 
as shown in Fig. 47. 
It will be seen that the 
pieces have been re- 
versed, so that if the 
pieces tend to warp, the 
action of one will coun- 
teract that of the other. 

Some kinds of wood 
will stay in place much 
better than others, and 
this should be consider- 




FiG. 45. Common sawing 



ed in making up table tops or other wide pieces 
Jointing. After the pieces have been properly 

selected and arranged, and also carefully marked or 

numbered, so that 
they will not become 
disarranged or re- 
versed, the joints 
must be carefull}^ fit- 
ted with the plane. 
On short joints the 
jack plane is sufB- 
cient, but for joints 
thirty inches long, or 
more, the jointer 

Fig. 46. Quarter-sawing should be USed. 




6o 



ELEMENTARY CABINETWORK 



Examine the planes to be sure that they are 
sharp and not too much rounded, and that they will 
cut a shaving of good width, but a little thicker at 

the center than at 
the edges. The cut- 



FiG. 47. 



Arrangement of common 
sawed boards 



ting edge should 
not be absolutely 
straight, neither should it be much curved. 

Place one piece on edge in the vise and joint the 
edge carefully. Then lay it aside and joint the edge 
of the other piece which is to join the edge first 
jointed. It is not necessary to use a try-square on 
these edges. They should be at right angles to the 
surface of the piece, yet it does not matter if they 
vary a little so long as they make a level joint, and 
the pieces do not slip sidewise in the clamps. In 
making a glue joint a skilled mechanic would never 
think of using a try-square. When you think you 
have the second edge correct, set the first piece on it 
and test with a straight edge (Fig. 43), to see if the 
pieces will make a true surface. Next examine the 
joint carefully from both sides and ends (Fig. 48). 
Plane and test the joint in this manner until it 
gives a true surface and the edges come in perfect 
contact the entire length. Pressing down upon the 
corners will help to show defective ends. Also try 
rapping the under board. There should not be the 
slightest opening at the extreme ends, even if they 
are to be cut off in finishing the piece. 



THE MAKING OF TOPS 



6i 



Great care must be taken to fit the joint properly. 
This means that it must be wood to wood at the 
extreme ends, and no short crooks or other irregu- 
larities anywhere in the surfaces. In the center 
the pieces may 
be separated 
enough to allow 
the thickness of 
tissue paper 
between them. 
Test them care- 
fully , both by the 
straight edge 
(Fig. 43), and by 
looking closely 
at each end (Fig. 
48) and along 
each side. If nec- 
essary, reverse 
the pieces in the 
vise in order to 

see each end and Fig. 48. Examining a glue joint 

each side. If you are working hard wood, you will 
often find it necessary to plane all the edges for the 
joints nearly true and then sharpen the plane before 
completing the joints. Keep your plane fine set for 
finishing the edges. Do not think you have a joint 
until the pieces appear to adhere as you gently 
pull or push the one upon the other. 




62 



ELEMENTARY CABINETWORK 



Clamping. When you think the joint is correct, 
place the pieces in the clamps ; the manner of apply- 
ing being indicated in Figs. 49 and 50. 

No pressure should be required to bring the 




CI a:}: ping glue joint 



pieces into contact. The clamps are used for expel- 
ling the surplus glue, and not for springing or 
bending pieces into place. The two C clamps are to 
keep the joint from slipping sidewise. Where so 
many pieces are to be glued, one-half should be glued 
at a time, making two sections. The picture (Fig. 
49) shows the gluing together of the two sections. 

In no case put dowels into such a joint. Screw 
the clamps up a little and examine the joint care- 
fully along each side. If it does not come up tight, 
or if it tends to bulge, remove the pieces and plane 
them some more. Do not think the joint is all right 
if, by using considerable force, the pieces may be 



THE MAKING OF TOPS 63 

Sprung together; for if the joint does not fit perfectly 
with very little pressure, it will not hold together 
very long after being removed from the clamps. 

Applying the Glue. The appHcation of the glue 
and the placing of the pieces in the clamps are quite 
as important as the planing of the surfaces which 
form the joint. In using cold glue there is oppor- 
tunity to make a very strong joint if the work is 
properly done. With the pieces jointed so that the 
surfaces come into perfect contact, the problem is to 
get as much glue as possible into the joint without 
keeping the surfaces the least distance apart. What 
is wanted is not a film of glue between the two pieces, 
but links of glue reaching from the pores of the w^ood 
on one side of the joint to the pores on the other side. 
The more glue in this position the stronger the joint; 
and if the joint is made in this manner and of good 
glue, it w411 probably be stronger than the wood. 

If a coating of glue is applied and the pieces are 
at once placed together, most of the glue will be 
forced from the joint, and the remainder will settle 
back so far into the wood that very little of the glue 
will reach from surface to surface. The joint, there- 
fore, will not be very strong and may fall apart. 

To avoid this, coat the surface and allow it to 
dry until the glue has had time to settle back into 
the grain of the wood. The parts should not be put 
together until the glue is as nearly dry as it can be, 
and yet allow the surfaces to be forced together. 



64 ELEMENTARY CABINETWORK 

This will depend upon the strength of the clamps 
to be used, and whether the pieces are of a nature to 
withstand the pressure. Fig. 50 shows how three 
pieces of hard wood, 2 inches thick by 4 feet long, are 
clamped. As many more clamps might be used to 
good advantage on such a table top. Chain clamps 
(Fig. 253) would have been better than those used. 




Fig. 50. Clamping large glue joint 

The glue for this piece w^as made thin, and. after 
the first coating had soaked into the wood more 
glue was applied. After the third coating had dried 
sufficiently, the pieces were clamped as tightly as the 
clamps w^ould hold, forcing the pieces together. 
Some glue was expelled but more was forced back 
into the w^ood. The result was a very good joint. 
If hot glue had been used, the pieces would have been 
put in the clamps as quickly as possible, and there 
would have been no need of so many clamps. Hot 
glue is quite equal to cold glue when properly- 
applied, but it requires too much skill and experience 
to be used successfully by pupils in their school work. 



THE MAKING OF TOPS 



65 



If you have proper facilities for gluing with hot 
glue, it will save time and expense to use it when 
you have many joints to make, but unless you are 
sufficiently skillful to apply it rapidly and clamp the 
parts at once, it will not hold properly. You must 
be as careful to use all kinds of hot glue rapidly as 
you should be to use cold glue slowly. 

Wide Tops. In gluing tops too wide to be 
dressed in the planer full size, glue them first in 
halves, and then, after each half has been carefully 
dressed out of wind and straight, glue the two halves 
together. (See what is said about "Cross Planing," 
page 67.) 

In getting such pieces out of wind, be very partic- 
ular to have them exactly correct. In testing the 
surface both from edge to edge and for wind, use 
the framing squares or straight edges. 




Sighting for wind 



In sighting for wind, be very particular to get 
a position that will insure seeing with exactness. 
In Fig. 51 is shown how this may be accomplished. 



66 



ELEMENTARY CABINETWORK 



Octagonal Top. Taborets and tables may some- 
times have octagonal or hexagonal tops. 

The octagonal top is made in the same manner 
^ -' ^ as a square top, except 

that, after both surfaces 
are finished and both 
ends and edges squared, 
the corners are cut off, 
making the octagonal 
shape. To lay out the 
octagon, draw the diago- 
nals as shown in Fig. 52, 
and then the arc H-E. 
This gives the point E, at 
which the corner is cut. 
Set the gauge to this 




L L 

Fig. 52. Lay ing out an octagon 



point — the space D-E — and from each corner draw 
a gauge line across the edge of each side {L-L). 
These gauge lines should be pencil lines. Draw 
knife lines on both top and bottom surfaces con- 
necting these lines. 

Saw off the corners and plane to the lines. 
Usually octagonal tops should be chamfered. This 
is done in the same manner as the chamfering on the 
bench-hook in "Elementary Woodwork." Be sure 
to use pencil lines for such chamfering, and be careful 
also to work exactly to the lines. 

Hexagonal Top. Before attempting to make a 
hexagonal top, draft out the top and locate on the 



PLANING 67 

draft the legs and rails, if there are to be any rails, 
beneath the top. You will notice that the top ap- 
pears to be much smaller than a square top having 
the same length of sides as the long diameter of the 
hexagon. 

Lay out the hexagon by drawing a circle on the 
top surface (Fig. 96), and then use the radius to 
determine the sides. Draw knife lines connecting 
these six points. Saw near the lines and finish with 
a plane similar to planing an end. 

PLANING 

Cross Planing. In making pieces for furniture, 
you are frequently obliged to reduce to a level sur- 
face a wide board, a table top, or a similar piece. 
To accomplish this in the quickest and best manner, 
you may place the piece crosswise of the bench and 
plane across the grain. The plane is usually run at 
an angle, as shown in Fig. 53, but sometimes it is 
run straight and directly across the grain. By 
carefully watching the effects of the cutting, you 
can determine how best to use the plane. As a 
general rule, after cross planing over the surface, you 
will need to plane over the surface in the ordinary 
manner. In all this planing be very systematic. 
Watch carefully where the plane cuts and do not 
set the plane to cut down into hollows. 

Examine the piece often in each of the three ways 



68 



ELEMENTARY CABINETWORK 



you learned in the first lessons in "Elementary 
Woodwork." If you are not certain about these 
tests review those lessons, for the success of your 
work depends very much upon your being able to 




Cross planing 



make the surfaces of your pieces true in every respect. 

If the piece is crossgrained and does not plane 

smooth, you may leave the rough places a little high, 

so that after you have finished them with a scraper 



VENEERING 69 

they will be level with the other parts of the surface. 
Of course in many cases, your only way will be to 
dress the surface true, and then dress it all down 
with the scraper or scraper plane. 

Sprung Pieces. Sometimes pieces will be sprung 
their entire length and require a great deal of planing 
to make them straight. Often this cannot be done 
without making them too thin. In such a case dress 
the pieces to an even curve and a smooth and even 
thickness, and depend upon the other parts to hold 
them straight after they are in place. If this does 
not hold them, they should be discarded. Do not 
spoil a fine piece of work by using a crooked piece of 
stock ; yet do not needlessly waste a piece which will 
be all right when properly placed. 

VENEERING 

Veneering End Grain. In making such pieces as 
the large armchairs (Figs. 149 and 155); taboret 
(Fig. 90); table (Fig. 188); and the piano bench 
(Fig. 191), which are to be finely finished or polished, 
the visible end grain may be covered by veneering. 
Although the veneering of entire pieces is too diffi- 
cult an operation for beginners, the covering of such 
end grain as the end of a table top, the ends of chair 
arms, and of other similar places, may be success- 
fully accomplished by any one who can use a plane, 
and follow simple directions. 



70 ELEMENTARY CABINETWORK 

Preparing the Surface. The first step in cover- 
ing the ends of a chair arm or table top is to. make 
the piece of the required length, and the surface to 
be covered a true plane. It is not sufficient that 
the end be planed nearly true, and rubbed smooth 
with sandpaper. It must be entirely true out to 
the extreme ends and edges, and this can be accom- 
plished only with a plane. 

Sizing. After the surface has been trued, cover 
it with cold glue. The glue will soon soak into the 
end of the piece, and more glue must be applied. 
Continue applying glue until there is a coating of 
dry glue left upon the surface. Let this dry until 
it is so hard that it can be scraped smooth with a 
cabinet scraper. While the glue is drying, prepare 
some thin pieces of wood for the veneer. If you 
have regular veneer at hand, it may be used. If 
you have no veneer, take a scrap of wood the 
proper size, like the piece to be covered, and plane 
it smooth on one side. If it is more than -f-^ inch 
thick, draw a gauge line around it and rip a piece 
ofl about \ inch thick. If it were scarcely -^ inch 
thick, it would be thick enough for veneering; but 
as you are not accustomed to using veneers, you 
might split or break it. Therefore, you had better 
use a piece about one-eighth of an inch thick. 

Gluing. Scrape the dry glue on the end until it is 
removed down to the wood. Place more glue on both 
the end and the veneer in the ordinary manner, and 



BACKING 71 

when the glue is quite sticky clamp the veneer to 
place. Use a smooth block against the veneer. Be 
sure to have the outside of the veneer reasonably 
smooth, so that the clamp will press evenly. Use 
plenty of clamps, and be very careful about forcing 
the veneer tight around the edges. 

After the glue is thoroughly dry, dress the veneer 
to about ^V inch thick, and round it a very little at 
the edges to make the edge of the veneer invisible. 
If your work has been done properly, the end can be 
finished the same as a surface. 

Veneers are usually laid so that the shrinkage of 
the wood will not affect them. This makes it nec- 
essary for the grain to run the narrow way, or at 
right angles to the wide surfaces on table tops, 
chair arms, and other similar objects. 

BACKING 

Three Kinds of Backing. A great deal depends 
upon the proper backing being used in such pieces 
as bookcases, music cabinets, and in all other 
pieces where the back helps to strengthen the frame. 

In elementary cabinetwork we have to deal with 
three classes of backings : those consisting of a single 
board, either of one natural or of several pieces 
glued edge to edge; those joined by loose tongue and 
groove joints; and those formed of one or more 
panels, having both stiles and rails 



72 ELEMENTARY CABINETWORK 



Backs consisting of a single piece are most often 
used, both because they are simple and because they 
are more apt to keep the framework square than are 
the other styles unless they are very carefully made. 

Solid Backs. Solid backs must not be used when 
their size would be such that the ordinary shrinking 
or swelling of the lumber would cause a disturbance 
of the framework, or make the back split or warp. 
The efficiency of such backings may be greatly 
increased by a careful selection of wood, and by 
filling the pores with such a filler or finish as will 
reduce the shrinking or warping to a minimum. 

Although many defects which would not be per- 
mitted in a table top, may be allowed in the backing, 
yet such features as the way of the grain, etc., which 
have to do with the stability of the lumber, should 
be quite as carefully considered as in selecting pieces 
for a top. 

If the back contains glue joints, they should be 
made quite as carefully as for any other part. 

The thickness of the material is a matter too often 
disregarded. A fine bookcase may be rendered quite 
unsatisfactory because the back, though w^ell joined 
and fitted, is so thin that its ^springing allows doors, 
and in fact the entire case, to appear rickety. 

Fastening Backs. One of the most important, 
though seemingly immaterial, points of the work 
is the place and manner of fastening the back 
in position. Of course, if it is a very small piece, 



n 



BACKING 73 

it is not of much consequence how it is fastened 
so long as it is made secure ; but when shrinkage and 
movement have to be considered, not only the place 
for the fastenings but whether they should be screws 
or nails, also is of much importance. 

If the back is wide, like the back of Fig. 215, it 
should be fastened near the center with screws at 
both top and bottom. If the back is of matched 
boards, a sufficient number to make a piece 18 inches 
wide should be glued and placed at the center, and 
at least four screw^s used in each top and bottom end. 
The remaining pieces should have a screw to every 
6 inches of width, and if there are two screws in each 
end of each piece there will be much less danger of 
the case racking. 

If the back is a solid piece the central portion 
should be secured the same as above, and at each 
side of this the holes through which the screws pass 
should be considerably wider than the shanks of 
the screws. This will allow for the shrinking and 
swelling of the back. 

Another way is to use screws at the sides so slim 
that they will bend before splitting the board. 
While a ij-to 2 -inch No. 10 screw may be used in the 
center, No. 8 screws may be used at the sides. 

Imitation Paneling. A modification of the 
matched backing is the use of thick and thin pieces 
alternating, which gives an appearance of paneling. 
Such an arrangement is often desirable and adds 



74 



ELEMENTARY CABINETWORK 



nothing to the labor, if the thin lumber is at hand 
and of a thickness to fit the groove made by the 
match plane. In order to have the thin parts fit to 
the bearing, the same as the thicker pieces, the thick 

pieces are cut 
down flush with 
the others at 
both top and 
bottom (Fig. 54). 
If the backing 
is to be a com- 

FiG. 54. End of j^lse paneling ^^^^^ ^^^^^^ ^^^ 

joints of the framework should be well fitted and 
glued, and the complete panel thoroughly secured. 
No allowance need be made for shrinking or warp- 
ing and each screw should be firmly set. 

Nails should not be used in fastening backs to 
place, except in the very smallest or cheapest work, 
because the tendency of the case to rack is certain 
to work the nails loose. 




PATCHING AND PLUGGING 

Method of Patching. Sometimes, rather than 
discard a whole piece of wood because of a small 
defect, the defective spot may be removed and the 
hole filled with a plug or patch of suitable wood. 

If the grain of the wood is not strongly marked, 
the patch may not be visible after the job is com- 



PATCHING AND PLUGGING 



75 



pleted. If there are strong contrasts in the grain — 
such as in quarter-sawed oak — the inserted piece 
may show very plainly. 

The method to follow in cutting out and inserting 
these pieces is substantially the same, whatever the 
nature of the wood. The opportunity for the exer- 
cise of skill and judgment is in the selection of the 
material and in determining the shape and size of 
the hole to be cut out. Usually, the hole should be of 
a rectangular shape and as small as will include the 
defect. 

The piece to be inserted should be as nearly as 
possible like the wood that will enclose it, not only 
in texture and in color but also in width of hard and 
soft grain, and should be so trimmed in fitting as to 
bring similar grains together. 

While the first step is to de- 
termine the size of the part to be 
removed, the shaping of the 
piece to be inserted is the second 
step, except when the hole is to 
be made by boring with a bit. 

In patching such a defect as 
that shown in Fig. 55, a square 
piece may be inserted, or a bit 
may be used to bore out a smooth round hole, and 
the patch fitted into it. Which is the better method 
to be used must be determined by circumstances. 
In this case a rectangular piece is to be used. It 




Fig. 55. Piece to be 
patched 



76 



ELEMENTARY CABINETWORK 




should be a little larger than the worm hole so that 

all defective wood can be cut out. 

The Taper. The sides of the piece should be 

slightly tapered, as 
shown in Fig. 56. It 
is of much importance 
that the four surfaces 
should have exactly 
the same amount of 
taper. If they do not, 
the piece will not be 
equally tight at all 
sides when driven into 
place. If the slant is 

Fig. 56. Scrihrng around patch ^^^ ^^^^^^ ^^^ ^^^^^ 

against which the patch impinges will be crushed or 
bent, and will show a black line when finished. 
This will also be the case if the patch is driven 
in too tight. After smoothing the small piece on 
its four sides, lay it on the part to be removed 
and draw fine, but distinct, knife lines around it 
(Fig. 56). Be careful to have the Hues all of the 
same heft. Remove the piece and cut out the open- 
ing, being careful not to bruise the knife lines. 
Should the amount of waste material to be removed 
be large, part of the work may be done by boring. 
Be sure to cut the hole deep enough. Slant the 
sides nearly as much, but no more, than the sides of 
the piece to be inserted (Fig. 57). 



PATCHING AND PLUGGING 



77 




Test the work by 
placing the piece in 
"the hole, examin- 
ing to see if it is 
tight, and also to 
make sure that the 
grains will proper- 
ly meet when it is 
driven to place. 
No attempt need Fig. 57. Hole cut for patch 

be made to drive it in flush unless this is necessary 
to bring the grains in proper relation. The patch 
shown in the cut is thicker than is usually used. 
This extra thickness is to show the shape and taper 
of the sides more plainly in the photograph. 

If all appears to be 
right, place glue on the 
piece and in the hole. 
Sometimes it is better to 
size the end grain. When 
the glue is ready, drive 
the piece to place by using 
a block and hammer, as is 
shown in Fig. 58. If you 
do not use the block, the 
wood in the patch may be 
crushed or bruised so that 
Driving patch after it is dressed smooth 




78 



ELEMENTARY CABINETWORK 




it will show crushed grain. After the patch is in 

place, it should appear as shown in Fig. 59. 

Be sure and allow the glue to become thoroughly 

dry, and then dress 

off the patch flush 

with the adjoining 

surface. 

If the hole is 

to be bored, the 

operation is much 

the same, with this 

exception, that in 
Fig. 59. Patch in place ^^-^ ^^^^ ^^^ ^.^ 

determines the exact size of the hole, and the piece 
is shaped by drawing a circle on it and chiseling 
carefully to the circle, allowing the taper as in the 
other method, but usually not quite so much. 

Plugging. Screws and nails are sometimes set 
far enough below the surface to allow of their being 
covered with wood. This is accomplished in the 
same manner as the patching of defective spots, 
and is called plugging. 

When many plugs of a kind are required for a 
piece of work, they may be purchased from dealers, 
or they may be cut by using a special bit or cutter 
designed for this purpose. This makes the opera- 
tion quite easy. If plugs are to be used, then the 
places for them should be made before boring the 
hole for the screw or driving the nails. 



SMOOTHING 79 

SMOOTHING 

When to Smooth the Surface. It is a waste of 
time to smooth each piece or surface as it is worked 
to size, for, before the parts are fastened together, 
there are many chances for the surfaces to become 
dirty or bruised. After the joints have been tested 
by clamping, and before the glue is applied, is the 
proper time for smoothing the surfaces ready for 
the varnish or other finishing material. 

If the article is small or if the parts are likely to 
become stained or bruised in the clamping, smooth 
only such pieces or surfaces as cannot be easily 
smoothed after the gluing. In gluing together the 
parts of a chair, the sides of the legs containing the 
mortises and all sides of the rails must be smoothed 
before the tenons are in place. 

If the parts join so that one or more surfaces can 
be planed after the joint is together, these surfaces 
should be left until after gluing. This applies to 
such articles as frames (Fig. 226), the backs of some 
armchairs, and like pieces. By not finishing such 
surfaces before gluing, an opportunity is left to dress 
the two surfaces flush, thereby making a proper finish. 

Planing. To do the smoothing, first plane the 
surface, guarding against tearing crossgrained por- 
tions, splitting ends, or bruising dressed surfaces 
against a bench stop. Sometimes, but not generally, 
the different parts of the surface may be planed 



8o 



ELEMENTARY CABINETWORK 



a c eg i m 



from different directions. Sometimes the plane will 
cut smoother if held at an angle of forty-five degrees. 
Plan to go over the pieces, reducing them to nearly a 
finished surface; then sharpen 
the plane and go carefully over 
them again. This time be very 
careful to plane in the same 
direction as you did the first 
time. The common mistake in 
planing is the tendency to use 
the plane with too heavy set. 
The plane must cut a very fine 
shaving, and you must go over 
each surface in a systematic 
manner. Begin at one side and 
take a shaving, as indicated by the arrow at A-By 
Fig. 60. Next take a shaving at C-D, then E-F, and 
G-H, etc., always in the regular order, even if the 
plane does not cut the entire length of the piece. 
You worked the surface straight and out of wind 
before making the joints, and now you are simply to 
smooth the minute unevenness. Unless you are very 
careful to proceed systematically, you will plane the 
piece in wind, or crooked, and spoil the work. If 
you did the planing properly in jointing the piece, 
going over it a few times with the plane should 
make the surface as smooth as a plane can make it. 
This does not mean that it will be sufficiently 
smooth, for the planing is very seldom sufficient. 



Fig. 60. Method of 
planing 



SMOOTHING 



8: 




Fig. 6i. Using a scraper 



Scraping. The next step is to scrape out all rough- 
ness left by the plane. To do this, use a cabinet 
scraper about two inches by three inches for pieces 
of small size, such as 
the parts of chairs 
and stools. Where 
the surface is quite 
smooth and the grain 
even, there will be 
little difficulty in 
using the scraper. In 
scraping quarter- 
sawed oak or coarse- 
grained or knotty 
surfaces, it is necessary to examine the surface con- 
tinually and to change the direction of the scraper 
frequently in order to avoid making the piece worse 
instead of better. You must hold the scraper so 
that it will be supported by the hard grain, other- 
wise the soft grain will be removed and the surface 
made so uneven that nothing short of replaning 
will smooth it again. If the scraper chatters, turn 
it to a different angle. Often it is necessary to 
change the scraper at every stroke from the posi- 
tion in Fig. 6 1 to that shown in Fig. 62. 

Always hold a scraper firmly and so that it will 
cut at the center; otherwise the corners will be 
lowered, the joints will not fit, and, worst of all, the 
appearance of the piece will tell a practical workman 



82 



ELEMENTARY CABINETWORK 




Fig. 62. Using a scraper 



that it was made by some one who either did not 
know how, or did not care, to do good work. 

Lastly, and most important of all, do not use the 

scraper after it 
has become so 
dull that it will 
not easily remove 
a real shaving. 

Continue the 
scraping until 
there is not a 
single spot of 
broken grain or 
roughness of any 
sort on any surface that will be visible after the 
finish has been applied. Do not smooth the surfaces 
that are out of sight. If there is a small spot that 
requires considerable scraping, do not scrape a deep 
hole at this place but scrape around it for a suffi- 
cient distance to make the whole surface appear 
level. You will often find it necessary to scrape both 
with the grain and against the grain. Frequently, 
you will need to scrape at an angle of about forty- 
five degrees across the grain ; and sometimes a little 
careful scraping directly across the grain is useful. 
When much scraping is required, it is necessary 
to hold the pieces securely. Most of the pieces can 
be held in the vise. Some are best held by using a 
clamp, either by clamping them to the bench or by 




SMOOTHING 83 

placing the clamp against the end opposite the stop, 

as shown in Fig. 63. So seldom is there any use for 

a tail vise that one 

should not be on the 

bench, for if one is at 

hand, it will be used 

many times when it 

will do harm rather ^^^-^3. Clamp at end of pi^ce 

than good. One learns far more without it. 

Sandpapering. After scraping comes sandpaper- 
ing. This does not differ essentially from the sand- 
papering of small pieces in joinery. If the surfaces 
have been well smoothed with plane and scraper, 
No. I paper is coarse enough. Sometimes No. li is 
used. Continue with finer grades until the surface 
is sufficiently smooth. Remember you cannot do nice 
varnishing over a rough surface, and the smoother 
the surface the better the varnish or other finish will 
appear. Be very careful not to roimd the corners or 
the edges at the joints. For nearly all of the small 
pieces no sandpaper block should be used; but for 
some of the larger surfaces a block is better than the 
hand or fingers. Be quite as careful not to sand- 
paper too much as to sandpaper enough. 

Removing Glue. After the parts have been 
glued together, all surplus glue should be removed, 
because, if any remains, it will injure the finish. 
A chisel is the best tool to use in removing glue 
from around the joints. The scraper usually 



84 ELEMENTARY CABINETWORK 

tears the grain near the joints and gives them the 
appearance of having been poorly made, but for thin 
spots of glue away from the joints, it can be used 
better than the chisel. Do not attempt to sandpaper 
over glue, or to remove glue by sandpapering. 

CLAMPING 

Use of Clamps. Some information in regard to 
clamping will be found in the directions for making 
the different articles. General directions only will 
be given in this place. 

Select the clamps with care. To do good w^ork 
you must have at hand a variety of clamps, and use 
each in its proper place. Nearly all clamps will 
injure the wood unless blocks of wood are placed 
between the faces of the clamp jaws and the finished 
surfaces. Blocks for this purpose should be kept at 
the gluing bench. If the work is of a nature that 
will permit of it, the clamp should be laid carefully 
in position on a bench and the pieces laid into the 
clamps. This is the method followed in the work 
illustrated in Figs. 66 and 70. The pieces were then 
placed in a vertical position for the purpose of photo- 
graphing them. The chair (Fig. 75) was clamped by 
laying three clamps on the bench, and then placing 
the chair upon these clamps. The last three clamps 
were then laid upon the chair. After the clamps had 
been tightened, the chair was set as shown in order 
to look for wind, etc., and the diagonal clamp applied. 



CLAMPING 85 

Do not attempt to drive joints together after 
they have been covered with cold glue. This glue, 
if allowed to become sufficiently dry to make a good 
joint, will resist all efforts at hammering, but will 
yield to the steady pressure of a good clamp. 

Adjusting Pressure. One of the important points 
to keep in mind is that the pressure must be oppo- 
site to the resistance. The pressure applied with an 
ordinary clamp is such that if it is not at the proper 




Fig. 64. Clamping 

point, it will spring the pieces out of place. This 
applies to the vertical as well as to the horizontal 
adjustment. 

Some clamps are so made that the pressure at the 
end of the screw is so far away from the bar, that it 
is necessary to block the work away from the bar in 
order to bring the pressure at the center of the edge 
of a |-inch piece. Others will clamp 2 -inch pieces 
only by placing a clamp on each side, as in Fig. 64. 



86 



ELEMENTARY CABINETWORK 




. Sometimes the blocks can be adjusted to bring 
the pressure at the center. In Fig. 65 a clamp is 
shown with the block raised to cause the clamp to 

press against 
the center of 
the piece. Fig. 
66 affords an 
unusually good 
typical illustra- 
tion of clamp- 
ing, showing 
blocks to pro- 

FiG. 65. Clamptng ^^^^ ^^^ ^^^^^ 

and clamps opposite the main corner joints. 

In clamping this chair back, the rails were first 
laid on two clamps and the vertical pieces forced 
nearly to place; the two clamps for the ends were 
then laid on the bench and the stiles laid in place. 
The rails and slats were then removed from the tem- 
porary clamps and placed in position, and the corner 
joints closed. After this, the three long clamps were 
placed in position and tightened. Lastly, the cor- 
ners received a final tightening. The whole arrange- 
ment was placed vertically to secure a photograph. 

Three clamps suffice for the four center pieces 
because they are so close together that there is little 
danger of springing the cross rails. Usually, there 
should be a clamp opposite each tenon. Notice also 
the framing square in position to test the corner. 



CLAMPING 



87 



Tightening Clamps. In applying several clamps 
it is very essential that they be tightened gradually, 
turning each a little in succession. Stop often to 
see that they are drawing the parts square and out 
of wind. Notice that only a small part of the 




Fig. 66. Clamping 

screws have been turned through the nuts. Always 
plan to keep the movable jaw as near to the end as 
you can. It is often necessary to turn the screw 
back and to move the other 'jaw up a notch after 
the tenons have been forced into the mortises. 



ss 



ELEMENTARY CABINETWORK 



Squaring with Clamps. Examine carefully all 
the illustrations of clamping, and especially Figs. 65, 
66, 67, 69, 72, 75, and 76, before using any clamps. 
In some of these you will notice clamps placed cross- 
wise, and others at various angles. This is to force 
the pieces square. The clamps may be made to 
bring joints square, even though the working has 
thrown them very much out of true. Know that 
there is a way if the pieces are properly fitted, and 



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Fig. 67. Testing with try-square 

keep trying until the clamps draw the pieces into 
proper shape. If the lines are properly drawn and 
the joints carefully worked, there should be little 
difficulty about the joints drawing up square. 

Preliminary Clamping. Always clamp the work 
together before applying any glue. Clamp it sec- 
tion by section first and, after the sections have 
been glued and are thoroughly dried, clamp the sec- 



CLAMPING 



89 



tions together. Test the work in many ways, both 
in the preliminary clamping and after applying the 




Fig. 68. Testing with jraming-square 

glue. Apply the try-square to every joint, as shown 
in Fig. 67. Apply the large steel square wherever 
practicable as shown in Fig. 68. Look for wind from 




Fig. 6g. Looking for wind. (5^^ Fig. 184.) 



90 



ELEMENTARY CABINETWORK 



all sides in every piece (Figs. 69 and 70). If 
piece is irregular or the face surfaces obscured, 
straight edges or the blades of framing squares 
the piece to assist in testing 
for wind. Always test from 
the face edges or face sides. 
To determine whether 
a frame is square, measure 
with a stick or rule between 
opposite corners and test it 



the 

lay 

on 







Fig. 



Looking for wind. {Sec ¥iG. 184.) 



with the try-square and framing-square. Be par- 
ticular about having the parts rest firmly on the 
bench so that they will not spring out of place while 
left to dry. A few wedges or blocks beneath the 
clamps will sometimes save a great deal of twisting 
and springing. Do not attempt to true your work 
by an uneven bench top or by the floor. 



CLAMPING 



91 



In Fig. 71 is shown the most simple form of 
clamping. Fig. 72 shows how clamps are placed to 






Fig. 71. Clamp on footstool legs 

pull two pieces parallel. In this case, the top end of 
the wider leg is being drawn in, and this without 
pulling any harder on the other leg. 



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Fig. 72. Clamp on chair legs 



92 



ELEMENTARY CABINETWORK 



Fig. 73 shows how the arms of large chairs are 
kept square. The piece across the end of the arm 




Fig. 73. Clamping arm of large chair 

is not only to keep the clamps from jamming the 
surface, but also to keep them from splitting the arm. 
In such places, one block or strip should be used 




Fig. 74. Diagonal clamp 

for both clamp jaws instead of a block under each 
jaw. Fig. 112 shows a similar case. 



CLAMPING 



93 



Diagonal Clamps. Fig. 74 illustrates the use of 
diagonal clamps. The same result often may be 
obtained by placing the clamps at an angle, as 
shown on the side in Fig. 75. This draws the seat 
out of wind. There is also a diagonal clamp extend- 




FiG. 75. Clamp at an angle 

ing from the back leg to the opposite front leg on 
this chair. This is to draw the seat square. 

In using clamps at an angle or diagonally across 
the frame, a great deal of judgment must be used in 
tightening them. It is essential they be tightened 
just enough; but also, that the tension be so dis- 



94 



ELEMENTARY CABINETWORK 



tributed that the frame will not change shape after 
the clamping is completed. In using cold glue, 
which does not set quickly, if the clamps on one 
side are all at an angle, there is danger of the piece 
changing form so slowly that the movement will not 
be noticed, but on examining it after the glue has 
dried it will be found very much out of shape. 




Fig. 76. Clamping in two directions 

When clamps are used at an angle the only safe 
way is to examine the work occasionally as the 
glue is drying. 

In Fig. 76 is shown how the clamps must be ap- 
plied where the joints are in two directions. The 
same method is used in clamping the back of hall 



CLAMPING 



95 



seat (Fig. 162). If there is any difficulty about draw- 
ing the piece square, two clamps may be used instead 
of one and both or either of the clamps placed at 
an angle (Fig. 164). 

Clamping Sections. 
After two sides of a 
piece have been glued, 
care must be taken not 
to break these joints in 
clamping the other 
parts. If the clamps 
are so placed that they 
do not press squarely 
against the sides and 
opposite to the resist- 
ance, the tendency of Fig. 77. Gluing side of chair 
jthe strain is to twist the piece and break the joint. 
This twisting may be so slight as to be scarcely 
noticeable and yet break the joint. Usually, the 
front rails and legs are glued together (Figs. 67 and 
74), then the back rails and legs (Figs. 69 and 76), 
and lastly, the side rails are glued to place, complet- 
ing the chair (Figs. 70 and 75). In chairs similar to 
Figs. 140 and 144, the sides are glued first (Fig. 77), 
and then the front and back rails secured. The 
sides are glued first in chairs similar to Figs. 149 
and 155, in order to clamp (Figs. 68 and 72) the 
arms to place more conveniently. In Fig. 73 is 
shown the clamping of an arm. 




96 



ELEMENTARY CABINETWORK 




FASTENING TOPS TO FRAMES 

Corner Irons. A good top may be ruined by 
improper fastening to the frame. There are several 
ways of making the top secure, 
and yet of leaving it so that in 
case it either shrinks or swells, 
it will neither open at the joints 
nor separate the framework. 

A very easy way of secur- 
ing the top is by using small 
corner irons (Fig. 78). These 
are sold by dealers, and are 
easily applied. One screw in 
the top and one in the rail are 
F1G.78. Cornerironinuse usually sufficient for each corner 
iron. The number of corner irons may vary accord- 
ing to the size and character of the top. For an 
ordinary top, 2 feet by 3 feet, one corner iron at the 
center of each end and each side, and one on the side 
rail close to each corner 
should be sufficient. The 
location of the fastenings 
should in most cases be in 
this systematic arrange- 
ment. The peculiarities 
of grain and other special ^i^- 79- Button holding top 
features resulting from the variations in the material 
may make necessary a different number of fastenings. 




FASTENING TOPS TO FRAMES 



97 



Always avoid inserting a screw in a glue joint or 
so near to the joint that it will tend to open it. If 
the top is made of man}^ pieces it should be placed 
bottom side up on the bench; the 
frame placed upon it, and the places 
for the fastenings carefully selected 
and marked. They should be placed 
so that the top may either shrink or 
swell without straining them. 

Buttons. A better method of secur- 
ing the top is to use buttons, as shown 
in Fig. 79. The groove in the rail to 
receive the end of the button should 
be short as shown, and not the entire 
length of the rail as is sometimes made 
to save expense in machine-made work. 
The buttons should be similar in num- 
ber and location 
to the corner 
irons, as the screw fastenings 
should be also (Figs. 81 and 
82). The holes in the rails for 
screws should be considerably 
larger than the shanks of the 
screws to allow of movement as 
the top changes in width. For 
¥ic,.^i.Screwhold,ngtop ^^e same reason the end or 
shoulder of the button (Fig. 79) should not be tight 
against the side rail. To make the holes for the 









Fig. 80. Bor- 
ing for screws 



98 



ELEMENTARY CABINETWORK 



screws, first bore through from the top of the rail 
(Fig. 80) . After this hole has been bored, another 
may be bored (Fig. 81), or a place for the head of 

the screw may be cut with 
a gouge (Fig. 82.) This is 
probably the best form of 
fastening, considering the 
ease with which it is made. 
If w^e do not consider the 
work of applying it, the but- 
ton is undoubtedly best. 

Boring Holes. Boring 
holes straight up through the 
rails, even though the rails 
may be narrow, is not ad- 
visable if either of the other 
This method marks the work 




Fig. 82. Place for screw- 
head, cut with gouge 



methods can be used. 

as that of a novice, and should be avoided. 



PART II 
Type Forms of Cabinetwork 



BOOK RACKS AAW TABORETS 

Book Rack Corners. This rack (Fig. 83), is a rack 
made of soft pine. It will look well made of any 
wood. In getting out the stock, work the two ends 



•-^ 




¥ 



Fig. 83. Book rack 

in one piece until the upper corners have been 
rounded. Dress both surfaces and edges. Round 
the corners of the end piece and square the ends of 
the shelf before laying out the mortises and tenons. 



lOO 



ELEMENTARY CABINETWORK 



In striking the circles for the . corners, place a 
thin block under the stationary leg of the compasses 
(Fig. 84). The corners should be smoothed with the 

chisel, using a shear- 
ing cut (Fig. 85). 
Before chiseling the 
corners they may be 
rounded by sawing 
with a compass saw 
(Fig. 97). Usually, 
the best way is to saw 
off most of the waste 
material by using the 
hacksaw, sawing first 
as shown at A, Fig. 
86, and then as at B. 
Laying Out. To 
lay out the mortises 
and tenons on the 




Fig. 



Marking the round corners 



shelf and ends, first draw light pencil lines across 
the grain, then draw the gauge lines, being careful 
not to make any lines beyond the pencil lines. 
Draw pencil and gauge lines on both top and bot- 
tom sides. Set the gauge to the line nearest the 
face edge, and draw all the lines at this distance 
from the edge for both mortises and tenons. Con- 
tinue setting the gauge for each space from the face 
edge until all the lines are drawn. Do not forget 
to draw all of the lines for the holes in the tenons 



BOOK RACKS AND TABORETS 



lOI 




for the tapering wedges. 
See drawing (Fig. 87). 
Remember that these 
holes are not of the same 
size on both the upper and 
lower sides of the shelf. 
Before cutting the 
piece in two, lay out the 
openings for the bottom 
ends and bore the holes 
at the corners ; also bore 
the holes for the mortises 
(Fig. 86). After working 

all the mortises, cut the Fig. 85. Rounding comers 

piece in two and square the ends with a plane. 
Saw from the ends into the holes, using a ripsaw. 
The part between the holes may be cut out either 
with a compass saw or with a chisel. If you use a 
chisel, cut first a little away from the line, cutting 
out a F-shaped space on both sides, .as in working 

a dovetail. Continue 
cutting in this man- 
ner until the piece 
breaks away, and 
then finish with the 
chisel, using the 
shearing cut as in 
truing ends or mak- 

Sawing corners mg JOmtS. 




I02 



ELEMENTARY CABINETWORK 






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BOOK RACKS AND TABORETS 



103 



If you have been careful to draw your lines 
correctly, and in the order directed, and to work 
to them, the pieces will go together nicely. 

Wedges. Your 
next task is to make 
the wedges. There are 
three ways of doing 
this: First, dress a 
piece to the size of the 
larger end of the 
wedge, and after cut- 
ting it into the correct . ^ig. 88. Piece for wedges 

lengths for the wedges, taper it. To get the taper, 
set the gauge to the size of the small end and draw 
a line across one end of each piece. Plane down to 
this gauge line. Second, make a piece equal in length 
to the wedges, and also equal in thickness. Lay out 

the wedges on its 
surface (Fig. 88), and 
then rip them apart, 
finishing with the 





plane. Third, if you 
happen to have a 
piece just thick 
enough for the wedge 

Fig. 8q. Piece for wedges ^ j.i -j -l j 

^ ' ^ at the widest end, 

you may taper the whole piece (Fig. 89), and then 
rip the wedges apart, finishing the straight sides 
last. In chamfering the ends, be careful not to 



104 



ELEMENTARY CABINETWORK 



make the chamfers too large. As this piece has no 
corners which are difficult to polish, it may be given 
a rubbed varnish finish, or it may be finished with 
several coats of shellac. 

Taboret. In Fig. 90 is given a very good design 
for a first attempt at making glue joints, smoothing 
surfaces, and poHshing. The general directions 
cover substantially every step in the construction. 

Make all the parts 
and fasten them all in 
place, then separate 
them and do all the fin- 
ishing. After the last 
rubbing of the finish, 
fasten all the parts to- 
gether again. 

This feature of hav» 
ing the parts separate 
while polishing makes it 
possible to do very fine 
finishing, and therefore 
you should not be content with any finish on this 
piece except a first-class polished varnish. 

The sizes of the various parts may vary consid- 
erably. This design, with feet a little larger in 
proportion, may be made 29 inches high and 24 
inches square, thus making a fine parlor table. It 
may be made in any of the popular oak finishes, 
or it can be made in mahogany and polished. 




Fig. 90. Taboret 







H 



E 



M'O I 



J?. 
Fig. 91. Taboret 



io6 



ELEMENTARY CABINETWORK 




Tops. Tops for such tables need not necessarily 
be made of 2 -inch thick material, but rather of 
I -inch and a border of similar material glued around 
the edge as shown in Fig. 92. 
This not only saves material 
and weight, but makes possible 
the use of a very simple method 
of fastening the top to the 
column. To do this, a board 
is fastened to the top of the 
column by using screws or 
Fig. 92. Underside of top ^ails. The column and board 
(Fig. 93) are then secured to the top by driving 
screws or nails upward through the board into the 
underside of the top. This method of fastening 
columns or legs to tops may be used in many places. 
The base is fastened to the column in the same 
manner. One cross rail extends entirely across and 
is secured by two screws, 
the other is cut in two and 
each end secured by two 
screws. This avoids the 
necessity of making a 
halved joint at the center. 
In order to polish the edges 
properly they must be ve- 
neered (page 69) . If the wood is close grained and 
carefully smoothed, the veneering may be omitted. 




Fig. 93. Top of column 
and cleat 



BOOK RACKS AND TABORETS 107 

Round Top Taboret. This taboret (Fig. 94) is 
not only one of the nicest designs but also one of 
the best to illustrate several important points in 
cabinetmaking. 

The sizes given in the drawing (Fig. 95), although 
the ones usually used, may be changed to the small- 
est support only a few 
inches high, for a flower 
jar, or to the height of a 
parlor table. If the sizes 
given in the drawing are 
used, the entire piece may 
be made from ordinary 
inch lumber. 

The larger sizes, be- 
cause of the tendency of 
wood to warp or check, 
should either be made of 
thicker stock, or the top 
and shelf should be 
strengthened by cleats or _ , 

^. ,-r^. , Fig. 94. Taboret 

crosspieces (rig. 94). 

When the top and shelf are simply plain boards, 
unsupported by cleats or similar supports, they must 
be of a material that is not likely to warp or split. 
Stock having the medullary rays parallel to the sur- 
face is best for such work (Fig. 44). Usually boards 
can be found wide enough for top up to 12 inches. 
Such boards must be quarter-sawed. 




io8 



ELEMENTARY CABINETWORK 




Taboret 



The first piece 
to be made is the 
top. If it is neces- 
sary to make the top 
of two pieces, they 
should be glued to- 
gether. While wait- 
ing for the glue to 
dry, the legs or the 
shelf may be made. 

Dress the top to 
a level surface and 
to the proper thick- 
ness. With the 
compasses, strike a 
circle the size of the 
top. The compasses 
may be used on the 
back side or the 
face side. If used 
on the face side, 
a small block of 
wood should be 
held, or slightly 
glued at the center 
(Fig. 96), so that the 
stationary leg will 
not make a hole in 
the top. If the circle 



BOOK RACKS AND TABORETS 



109 




is drawn on the face side, any roughing of the edge 
in sawing or chiseling will be on the under side. 

After drawing 
the circle, the 
waste material 
may be removed 
by sawing close 
to the line with 
the handsaw, as 
shown at A and 
B in Fig. 86, or 
the compass saw 
may be used as 
shown in Fig. 97. 

The edge maybe ^ig. 96. Block uudn- Ic, ./ compasses 

finished by using the chisel. The chisel must make 
a shearing cut, as in working ends and joints, 
or in trimming the circular end of the bench-hook. 
(''Elementary Woodwork." See also Fig. 85.) 

Some prefer to 
smooth the edge by 
using the smooth 
plane (Fig. 174). 
This is probably the 
best method for cir- 
cles 12 inches in 
diameter and over. 
Some prefer to use 
Fig. 97. Using compass saw the plane on even 




no 



ELEMENTARY CABINETWORK 



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smaller circles. 
Large circles may 
be first roughed 
off with a draw- 
shave as shown in 
Fig. 173. A good 
spokeshave may 
be used for this 
purpose (Figs. 98 
and 99), but most 
people will find 
the chisel or the 
plane easier to 

Fig. gS. Spokeshave iu use ^ ^^^^ ^^^ ^^.-^j ^^ 

better work with them. Whatever method is used, 
be sure to test the edge carefully at every point 
with the try-square (Fig. 100). Notice that the 
beam of the try- 
square alw^ays 
points toward the 
center of the circle. 
This is very impor- 
tant, for a slight 
variation in the 
position of the 
head of the try- 
square may make 
a great difference 

in the value of Fig. 99. Spokeshave in use 



— , -Mi, "--■ ^1 




.-^p"^ ' '«^^-* 





BOOK RACKS AND TABORETS 



the test. This same principle apphes to the test- 
ing of all curved edges. 

If the legs are to be worked from a board or a 
plank by hand, first joint the best surface and the 
best edge so that you can draw gauge lines for 
exactly the proper widths, and rip close to the lines. 
You will thus avoid much hard work in planing. 
After one piece 
has been ripped 
off, rejoint the 
edge and gauge 
for the next 
piece. Always 
be careful to saw 
so close to the 
lines that a very 
little planing 
will be sufficient 
to make the edge 
a true surface. 
As these 

pieces are to fit Fig. ioo. Testing round edge 

into notches, it is essential that they be very smooth 
and square, and all of the same size at each end. 
Line what is to be the top end of each leg and square 
it carefully, using the chisel after sawing near the 
line. Clamp the legs together as directed on page 
26, and draw a knife Hne for the bottom end, for 
the dowel or screw^ which will enter the shelf ; and 




112 



ELEMENTARY CABINETWORK 




Fig. ioi. Laying out notches 

under the topic, "Finishing Ends, 



also for the dowel or screw at the top. Draw a 
pencil Hne for the chamfer around the top end. 
Remove the clamps and draw the knife lines 

entirely around 
the bottom of 
each leg; also 
complete the 
pencil lines 
around the top 
end for the 
chamfer. Com- 
plete the cham- 
fer as directed 
page 42. 

Set the gauge at as near half the width of the leg 
as you can, and draw tw^o lines at each place for a 
dowel or screw — one line with the head of the gauge 
against the face side, and the other line with the- 
head of the gauge against the opposite side. This 
is to make certain of the center of the piece. If it 
results in two gauge lines, set the spur of the bit 
betw^een the gauge lines and exactly on the knife 
line. As these holes have much to do with keeping 
the taboret in proper shape, you should do your very 
best to bore the holes exactly right. 

Notches for the Legs. After the edge of the top 
has been worked to a true circle and square with 
the surface, lay out the notches for the legs. To do 
this, find the four equal parts of the circumference, 



BOOK RACKS AxND TABORETS 



113 



and make knife marks at the edge. Draw a short 
line toward the center from each of these marks by- 
laying a straight edge across the piece at the oppo- 
site marks (Fig. loi). Number the legs, and also the 
points at which the notches are to be cut. Find the 
center of each leg at the upper end, and make a 
small knife mark on the edge. Place the leg, as shown 
in Fig. 102, and mark the width where the opening 
is to be cut. Be careful to use each leg at the place 
it is to fill. With a straight edge draw lines from 
these marks the proper distances for the depths of 
the openings. 
By placing the 
straight edge 
at the marks of 
the two oppo- 
site gains the 
lines will be 
parallel (Fig. 
loi). Place the 
top in the vise, 
and draw lines 
across the 
edge. Use the 

try-square as Fig. 102. Marking iv id tli of notch 

shown in Fig. 103, and then draw lines on the back 
or under side of the top, the same as on the face or 
top side. (Fig. loi.) In drawing use a knite for 
all of the lines. 




114 



ELEMENTARY CABINETWORK 



T(^ mark the 
block as shown 




Fig. 103. Lining across an edge 

enough to be set to the Hne 



depths for the opening, make a 
in Fig. 104, having two ends of 
exactly the same width, 
and then mark C exactly 
at the center. Place 
this block against the 
edge with the point C 
exactly at the center 
line of the top, and, 
with the gauge set for 
the proper space, draw^ a 
line as show^n in Fig. 105. 
It is not essential 
that the block fit the 
circle. If the two ends 
touch the circumference, 
and the point C is near 
the gauge will make 
taneent at the center of the 



a line parallel to a 

opening, or at right angles to the radius. 

If you are careful to hold the piece in the vise, 
as shown in Fig. 106, 
and saw" close to the 
line, leaving just 
enough to smooth with 
the chisel, much time 

will be saved. You will ^^^^ ^^^^ -"Sketch of concave block 

need the ripsaw for two of the notches and the 
backsaw for the other tw^o. After ripping at the sides 




.BOOK RACKS AND TABORETS 




of the notch the waste material may be cut away, the 

same as in working dovetail. Find the center of each 

notch and bore 

the holes for the 

dowels. Be sure 

to bore them 

straight, or the 

dowels will 

throw the piece 

out of square. 

After you have completed the top, dress a piece 

for the shelf. If you are able to work to your lines 

with considerable exactness, it will be much quicker 

to lay out the shelf according to the drawing, and 

finish it before testing it with the top. If you are 

not very accurate 
in your work, you 
may clamp the 
piece to the top, as 
shown in Fig. 107, 
and with the knife 
point scribe a line 
at the inside of 
each opening and 
make a mark ex- 
actly below the 

Fig. 106. Sawmg gam in rnse ^^^^^^ ^^^^^ or, what 

is better, at the bottom end of the line which was 
drawn to locate the dowel. Mark the shelf with 




ii6 



ELEMENTARY CABINETWORK 




the same numbers as the legs and openings in the 
top, so that you will be sure to place the shelf prop- 
erly after it has been 
finished. Set the 
gauge to half the 
thickness of the shelf 
and make lines at 
which to bore holes 
for the dowels. 

Glue a dowel into 
each hole in the legs, 

Fig. 107. Scribing corners of shelf "beinc particular tO 

have it exactly at right angles with the surface. 
After the glue has thoroughly hardened, put the 
legs in place to see if all fit in properly. 

Look for wind and also to see if the joints are 
all tight. After beifig sure that all is correct, glue 
and clamp the pieces as shown in Fig. 108. 

To make the 
project easier, 
lag screws (Fig. 
109) may be 
used instead of 
the dowels. This 
will avoid the 
necessity of us- 
ing clamps. 
Although lag 
screws may be 




Cldfupifig taborci 



BOOK RACKS AND TABORETS 



117 




Fig. 109. Lag screw in 
taboret 



used on such simple pieces, their use should be dis- 
couraged, and whenever practicable some method 
in keeping with ordinary 
methods of furniture construc- 
tion should be employed. 

Before boring holes for 
lag screws, read what is said 
about boring with twist bits 
and gimlet bits. In order to 
be sure of having the holes 
the correct size, bore in a 
piece of scrap and insert the 
lag screw. The screw should 
fit loosely in the leg, but the holes in the top and 
shelf should be as small as can be used without 

splitting the pieces. 

If you have made the 
openings in the top square, 
and the shelf corners square, 
the taboret should be 
straight and square as soon 
as the screws are in place. 
After all has been put to- 
gether apply the finish, or 
take it apart and finish 
each piece separately. 

Another Taboret. This 

taboret is similar to Fig. 94. 

Fig. 1 10. Taboret The chief difference is that 




ii8 



ELEMENTARY CABINETWORK 



it is fastened together with dowels beneath the top 
instead of at the edge. By making the taboret 
as shown in Fig. no, the putting together is some- 
what easier, as the legs may be first fastened to the 
shelf and then to the top. 




Fig. III. Gluing taboret 

In using this method, the parts may be gotten 
out in shape and size according to the drawing, and 
then the dowels glued into the shelf. Two legs are 
then glued to place (Fig. in). A board is placed 
between the legs at one side of the shelf and a try- 
square at the other side. This board is made square 
so that as it is pressed against the shelf by the 
clamp it will hold the legs square. The try-square is 
used to see that the legs are at right angles to the 



BOOK RACKS AND TABORETS 



119 





^^^HB^^^^ 





shelf. After two legs are thus secured and the glue 
dry, the other two are placed in a similar manner. 

The next part of the work is to fasten the legs to 
the top. Lay 
out the under 
side of the top, 
locating the 
places where 
the legs should 
be secured. If 
there is any 

variation from 

the drawing, ^''^- '''■ ^^^''"" '"/' ^" ^^-^' 

see what can be done to adjust it, and if necessary, 
scribe around each leg. Locate the place for the 
dowel at the center of the top of each leg, and the 
corresponding place in the under side of the top. 
Bore the holes about i J inches into the legs and as 
deep into the top as you can, and be careful not 
to mar the surface of the top with the bit spur. 

Carefully fit the dowels into the top, gluing 
them to place and allowing the glue to dry before 
putting the top on to the legs. This will avoid the 
liability of the dowel being pressed up through the 
top in putting the top in place. Try the top in place 
before applying the glue. When all is right, glue 
and clamp, as shown in Fig. 112. Notice that a 
piece is placed across the top to avoid splitting it. 
Short pieces are placed over the other two legs. You 



120 ELEMENTARY CABINETWORK 

may not require more than four clamps. . One of 
the other clamps is to keep the piece square and one 
is to hinder the breaking of the dowel joint at the 
shelf corner. 

FOOTSTOOLS 

Dimensions. This design (Fig. 113) may be of 
any height from 8 to 14 inches. The width and the 
length should correspond to the height ; but it is not 

essential that the 

width and the length 

be the same. It may 

be shaped similar to 

Fig. 119. If the stool 

is to be of a small size, 

the parts may be 

united with dowels. 

Read the directions 

for selecting and joint- 

FiG. 113. Footstool ing face edges (page 

11), for making tapered legs (page 37), and the 

remarks on doweling (page 35). 

The footstool shown in Fig. 113 has side rails 
made of J-inch stock and they are 3 inches wide. 
The legs are of i|-inch square stock and are 8 inches 
long. They are ij inches square at the bottom. 
The total width of the footstool is 12 inches. 

Jointing Ends. If you are to use dowels, clamp 
the four pieces together (Fig. 11), and draw a line 




FOOTSTOOLS 



121 



B- 



across each end. These Hnes should be exactly the 

correct distance apart for the length of the pieces, 

or the space between the legs. If the ends 

are quite true, plan to locate the lines so 

that they will be either near enough to the 

end to admit of easily finishing with a plane, 

or else far enough from the end to allow 

the use of a saw. In dressing the ends with 

the plane, be very careful to make them 

exactly square, as tested from both the face 

side and face edge. Plane from both direc- 



B- 



FlG. 114. 

tions, so that you w^ill not split the corners. f^^^^^J, 
"End Planing, "in "Elementary Woodwork." ing 

Doweling. After all the ends have been made 
perfectly sqiiare, and the pieces of correct length, 
locate the dowels. First, draw a line 
nearly across the ends of each piece 
near the center A, Fig. 114. Next, 
set the gauge to | inch and draw lines 
B on each piece. Then set the gauge 
to 2 1 inches, and draw lines C. In 
the places where these lines cross is 
where the spur of the bit should be 
set for boring the holes for the dowels. 
These holes should be | inch in di- 
ameter and about i J inches deep. A 
Fig. 115. yV-inch hole may be used, if carefully 
doweling bored. Be very careful to follow the 



122 



ELEMENTARY CABINETWORK 



directions for boring, so that the holes will be per- 
fectly straight and at right angles to the surface. 
The holes in the legs are located by drawing a 
line (A, Fig. 115) so that the surface of the rail will 
be about f inch from the outside of the leg, and then 
placing a rail on the leg as shown in Fig. 116, and 
marking the spaces. If the rail is not to be flush 
with the top of the leg, a line should be drawn on the 

leg, showing where 
the upper edge of 
the rail will come. 
This is shown at B 
in Fig. 115. 

If care has been 
taken to mark the 
ends of all the rails 
alike, one end may 
be used to mark all 
the places for dowels 
on the legs. If there 
is any variation in 
be marked at both 
figure, and corresponding 




Fig. 116. 



Alarking for doweling 

the lines, the rails should all 

ends with a letter or 

marks made on the legs, so that each end can be 

returned to the same place. These marks should be 

placed where they will not be removed in scraping 

or sandpapering. 

The holes in the legs should be bored about one 
inch deep, or until they meet. If deeper holes are 



FOOTSTOOLS 123 

desired, two of the rails may have the holes located 
i inch and 2 J inches respectively from the face edge, 
and the holes in the leg to correspond. This will 
hinder their meeting and admit of the holes being 
I J inches deep. 

Either a machine-turned dowel rod or one made 
by hand may be used. (See what is said about 
dowels in Part III.) 

After a sufficient amount of dowel rod is at hand, 
cut it into pieces about 2 J inches long. See that the 
rod fits the holes as tightly as it can be forced in and 
yet be removed. 

Gluing. Place glue on about i} inches of one 
end of each dowel, and in each hole in the rails. 
After the glue has dried until it is almost glazed, 
drive the dowels into the holes, being very careful 
to leave a sufficient amount projecting to enter the 
legs. After the glue is thoroughly dry, clean off any 
surplus glue and place the pieces together, clamping 
them to see if they are all right. If the joints draw 
up properly, take the pieces apart and put glue in 
the holes, on the pins, on the surface of the legs, 
and on the ends of the rails. 

This glue should dry considerably before the parts 
are clamped, but it should not dry as much as on the 
pins before they were forced into the rails. 

Remember that after the glue has dried suffi- 
ciently for placing the parts together, the pins can- 
not be driven to place but must be forced into the 



124 ELEMENTARY CABINETWORK 

holes by the steady pressure of the clamps. This 
is often necessary in forcing the pins into the rails. 
Glue the ends together first, being careful to follow 
the general directions given for scraping, finishing, 
gluing, and clamping. 

MortiseSo This footstool may be made with mor- 
tises and tenons, the same as Fig. 119. When 
mortises and tenons are used, there is a likelihood of 
the glue being forced into the side mortises while 
gluing the ends. You should, therefore, examine 
all the side mortises carefully before attempting to 
clamp the sides together, to see w^hether, in gluing 
the ends, any of these mortises have been partly 
filled with glue. Before gluing the sides to place, 
clamp all together to see if the joints are tight. 
Look carefully to see that the piece is square and 
out of wind. 

This footstool may be made for different tops as 
shown in Figs. 117, 133, or 138. 

Flowerpot Stand. If made a little higher in pro- 
portion to its width and supplied with a board top 
similar to the chair (Fig. 127) — ^but set between the 
rails and about J inch below their edges — it is a 
good flowerpot stand. It may be further modified 
by using one or more square rungs similar to the 
spindles used in Fig. 159. 

Upholstered Footstool. This stool is similar in 
shape to Fig. 113. The legs are made as described 
on page 37. The rails are laid out and tenons worked 



FOOTSTOOLS 125 

the same as if the sides were to be finished straight. 
The mortises are worked as described on page 28. 
The chamfered ends are made as described on page 
43. Read the directions for making Fig. 113. 

After you have finished the tenons, draw lines for 
the curve at the bottom edge of the rails. This may 
be accomplished by sketching free-hand one-half the 
curve on a piece 
of thick paper. 
Then fold the 
paper and cut 
to the line. 
After you have 
a line that is 
satisfactory, 
lay the pattern 
on the pieces 
and draw the 
lines with a 
pencil. Notice 

in the drawing" -^^^- ^^^7- Upholstered footstool 

(Fig. 118) that the curve does not extend entirely to 
the legs. This curve may be drawn with the com- 
passes as indicated in Fig. 118. 

The drawing (Fig. 118) gives the sizes of the 
stool photographed, except the curve, but the 
article may be made either larger or smaller. For 
legs up to 14 inches long stock if inches square is 
large enough; | inch is thick enough for the rails. 




126 



ELEMENTARY CABINETWORK 




FOOTSTOOLS 127 

The width should be proportioned to the height of 
the legs. The lower edge would be nearer straight 
if the rail were narrower, and more curved if it 
were wider. 

To remove the waste material, saw with a com- 
pass saw close to the line and finish with a chisel, 
spokeshave, or scraper. If the sawing is done 
properly, very little finishing will be required. In 
no case use a file, for it does not leave a properly 
finished edge and this would stamp the piece as 
having been done by one who does not understand 
how such work ought to be done. Do not be satis- 
fied until the curve is regular, smooth, and square 
to the very edges. 

Finally, it should be smoothed with sandpaper. 
The paper should be held as it is in sandpapering a 
chamfer (Fig. 32). Do not use a rounded block, for 
it will certainly ruin the edges. 

The taper of the legs may vary, as their size may 
also. The top may be upholstered either as shown, 
or like the chairs in Figs. 138 and 147. If the woven 
leather is to be used the triangular blocks at the cor- 
ners should be omitted, as these are to receive the 
tacks in fastening the upholstering about the corners. 

Oblong Footstool. This footstool is not difficult 
to make. The instructions given in the general 
directions cover substantially every feature of 
making. This footstool may be made to receive 
any of the tops shown in Figs. 117, 138, and 147. 



128 ELEMENTARY CABINETWORK 

The sizes may also be varied. It should not, how- 
ever, be much larger than the dimensions given in the 
drawing (Fig. 120) unless the stock for the legs is of 
a larger size; 2}-inch square legs go very well with 
rails of these sizes. The amount of work is lessened 
by making the lower rail only J inch square. 

As the tenons meet at the corners, one set should 
be shorter than the other set. All may be worked 

the same length, 
and after the end 
rails have been 
glued to place, 
the tenons on the 
side rails may be 
cut to length. 
Do not attempt 
to miter the ends 
of the tenons, for 
_^, ^ , if your work is 

hiG. 119. Oblong footstool 

properly done 
this will be unnecessary, and if the joints are not 
well made, the mitering will do little if any good. 
Do not forget to glue the end rails in place first, 
then test the side rails by clamping to place before 
gluing. Read the directions for clamping and 
finishing before applying any glue. 

In Fig. 121 is shown how the top rail of a chair 
or stool may be rabbeted so that the leather can 
be fastened to the edge of the rail, and yet have a 




FOOTSTOOLS 



129 



finished edge of wood outside the leather. A small 
block should be fastened at each corner so that the 
leather can be properly tacked around the inside 
corner of the leg. This is shown in Fig. 121. 



/P"' 



MqO 

-IT- 



^H 



^ 



'i' 



^^ 



^li 



M 



T-Ti 



r 



^clj' 



<*) 



&oi 



^ 



■v 



l_t_l 

A 



'A 



Fig. 1 20. Footstool 



I30 



ELEMENTARY CABINETWORK 




This same plan may be used in covering seats with 
leather which have a frame around them similar to 
Fig. 135. The frame would be made as shown, and 

then a place for the 
leather rabbeted 
around the inside 
edge, and the inside 
frame omitted. 
Such a seat is really 
much nicer for some 
purposes, as it is 
stronger and the 
_ leather does not wear 

Fig. 121. Rail rabbeted for leather out at the edges. 

Unless the footstool is of small size the rail should 
^ inches thick to allow a sufficient width of rabbet. 

Rush Seat Footstool. This footstool (Fig. 122) 
is a little more """" 

difficult to make 
than the oblong 
footstool (Fig. 
119), because 
the rails differ 
in size and 
position. This 
makes it nec- 
essary to exer- 
cise considerable Fig. 122. Rush seat footstool 



be If 




FOOTSTOOLS 



131 



care in locating the mortises so that the legs will all 
face as desired, and be right end up. 



P 






iA^^-* 



y 



T — r 



^ 
\ 



t_ 



*^l>^ 



,^/ 



(^^ 



^ 



teU/^J. 



#<?. 



y^ 



^l(\i 



fp 






132 ELEMENTARY CABINETWORK 

If you will stand the legs on the bench in the 
position you wish them to occupy, and then sketch 
the location of each mortise (Fig. 14), you will be 
quite sure to make no mistake when you lay them out. 

The top rungs (Fig. 123) of this footstool are sim- 
ply cylinders. They may be planed to shape, as 
described in "Elementary Woodwork," or turned 
in the lathe. As they are covered the entire length, 
they need not be very smooth. In the old rush- 
seated chairs, these pieces were often made entirely 
with an ax. They may be a little larger than the 
holes and fitted by whittling when the parts are put 
together. As the holes for the rungs meet at each 
corner, you must be careful about examining them 
after the front and back are together, before attempt- 
ing to clamp the sides to place. 

In making this footstool, read w^hat is said in 
Part I about face sides, laying out work, mortises, 
tenons, clamping, gluing, chamfering, scraping, 
finishing, etc. The size (as given in Fig. 123) may 
be modified to suit. The rails must not be located 
so near the rungs or top of the legs as to leave insuffi- 
cient room for drawing the rushes around the rungs. 
The space given in the drawing is about as small as 
it can be to allow of convenient seating. 

This design may be modified by using cord, rat- 
tan, or leather for the top. Instead of the cylindrical 
pieces, a rectangular rail and a solid or woven leather 
top (Figs. 117 and 138) may be used. If arranged 



CHAIRS 133 

for a soft upholstered top, the design becomes prac- 
tically the same as the bottom of Fig. 125. There 
is an advantage in this arrangement of the rails 
(Fig. 123), as all the tenons may be full length. It 
is a stronger design than Fig. 119. A very little 
taper — about -^ inch on a side — improves the 
appearance of the legs. The taper should extend 
only up to the bottom edge of the lowest rail. 

CHAIRS 

Read all the directions for selecting and work- 
ing the face sides (page 11), making 
legs (page 35), and laying out 
mortises and tenons (pages 14 to 
35). Read also the full directions 
for clamping and finishing (pages 
84 and 79). 

This design (Fig. 1 24) is intended 
for the upholstered seat (Fig. 1 2 
but may be altered to 
receive a different kind 
of upholstered seat (Fig. 
147), a wooden seat (Fig. 
127), or a woven leather 
seat (Fig. 13:8). The 
sizes given in the draw- 
ing (Fig. 126) may be 
changed to make either 
a higher or a wider chair. Fig. 724. Chair 




134 ELEMENTARY CABINETWORK 

The legs may be of ij-inch stock, and the rails of 
|-inch or J-inch stock. The tenons will then be shorter 
and thinner and must be very carefully fitted . 

The back may be altered by using a piece ver- 
tically (Fig. 146), or small square pieces, as shown 
beneath the arms in Fig. 159. This will allow the 
rails to be made narrower, and 
consequently the whole chair will 
be much lighter. Go over all the 
dimensions and then compare this 
chair with the others. Notice the 
differences in the sizes of stock and 
also in the height of back and seat. 
The number and the length of 
rails is also to be consid- 
ered. In all changes in the 
number and size of rails 
be careful about the spac- 
ing. Avoid placing rails 
too near the lower end of 
the legs. Also avoid weak- 
ening the upper end of the 
leg with too long mortises. 
The meeting of the mor- 

FiG. 125. upholstered chair ^-^^^ -^ ^^^ ^^^ ^^^^^^ ^^^^ 

be considered. The legs may be straight. This 
will save much work. The amount of work may be 
greatly increased by making all the rails narrower 
and increasing their number. 




CHAIRS 



135 



A child's chair may be made by using this design 
with dimensions changed. To reduce the plan, first 
determine the height of the seat and then calculate 
the other sizes. If the work is well done the small 



>^ 



if 



/3'- 



rr"n, 






frn 









f 



f 



Fig. 126. Chair 



12' 



M 



ff' 



ly 



chairs may be made of basswood, yellow pine, 
maple, or some other similar wood. 

For children's chairs, or for larger chairs to be 
used out of doors, the seat may consist of narrow 



136 ELEMENTARY CABINETWORK 

slats resting on strips nailed to the insides of the 
front and back rails. The ends of the slats should 
form good joints with the inside surfaces of the rails. 
Chairs for out of door use may be oiled or painted 
instead of varnished. Make a complete working draw- 
ing of what you wish to make before beginning work. 

Wooden Seat Chair. This chair (Fig. 127) is given 
as an illustration of one form of wooden seat. 
Although this kind of seat is 
appropriate for some chairs, it 
cannot be used in all places 
and, therefore, you should con- 
sider where the chair is to be 
used before deciding upon the 
style of seat. 

This seat may extend over 
the ends of the front legs. If 
it does, it should be 
rounded more on the 
top edge. The grain 
of the wood should 
be parallel with the 
side rails. Such seats 
may be used on foot- 
stools (Figs. 113 and 
119), chairs (Figs. 134 
and 148), and the hall 
seat (Fig. 162). The 

style and height of Fig. 127. Wooden seat chair 




CHAIRS 



137 



legs, the number and size of rails, may vary quite 
as much in chairs for wooden seats as in those for 
other styles of seats. 

Before beginning work, make a complete work- 





3 


a 






i 










5 




.-, 


I 

1 


J 

>1 


1 


•^« 




P 
% 


"t 


t 


1 


■I 






/i' 











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-ii- 



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T 



19 '* 



Fig. 



Wooden seat chair 



K 



ing drawing of the style you wish to make. The 
sizes may be varied from those shown in Fig. 128 
to those in Fig. 126 or Fig. 148. 

In making this chair, read what is said under 



138 



ELEMENTARY CABINETWORK 




each topic : "Selection and Arrangement of Material" 
and ''Face Marks" (page ii) ; "Legs" (page 35) ; "Mor- 
tises and Tenons" 
(pages 14 t035);''Glue 
Joints" (page 57); 
"Clamping" (pages 84 
and 95); "Smooth- 
ing" (page 79); and 
"Finishing Materials' ' 
(page 257). 

In making the 

Fig. 129. Marking to fit seat ^^^^^ ^^^^ ^^^^ ^q_ 

gether at least two strips, making a piece of suf- 
ficient width. True the surfaces, the edges, and the 
end w^hich is to be at the back side. Lay the seat 
in place (Fig. 129), and with knife and try-square 
draw lines at the inside of each leg. Measure the 
required distance from the end and draw lines in 
from each edge 
with knife and 
try-square. Care- 
fully remove the 
piece at each back 
corner and fit to 
place. After the 

seat has been fit- Fig. 130. Scribing around front legs 

ted to the back legs, place the chair in the position 
shown in Fig. 130, and scribe the seat for fitting to 
the front legs. Work very carefully, or the corners 



m 



CHAIRS 



139 



will not fit. Notice that the seat is not against the 
rails at the back legs as you scribe with a knife for 
cutting the openings for the front legs. (Fig. 130.) 
After all the corners have been fitted, round the 
edges between the legs, bore holes as in fastening 
a table top (Fig. 80) for two screws in each rail, 
and fasten the seat to place. You may find it easier 
to do all the finishing on the chair with the seat 
removed. This seat may have a formed surface, or 
may be covered with leather, or 
the center may be cut out and 
upholstered, similar to Fig. 125. 
Rush Seat Chairs. All the 
processes involved in making 
this chair (Fig. 131) are given 
in the general directions, ex- 
cept such special directions as 
■' . ^ \'en for making the foot- 
stool (Fig. 122). 

With the in« 
troduction of the 
rush seat a large 
variety of forms is 
suggested. From 
the most substan- 
tial construction, 
as given in Fig. 132, 
the design may be 

Rush seat chair changed tO the 




I40 



ELEMENTARY CABINETWORK 



straight round legs and round rungs of the home- 
made chairs of the early settlers. 

In your school work, plan to make use of the 
more difficult construction in order to get the larger 
value from your work ; the design may be changed 



'o\y 



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Fig. 132. Rush seat chair 

by omitting two of the rails and by making the 
others smaller. This will require less work and yet 
teach the mortise and tenon construction. 

As the rushes are not easily obtained, an imita- 
tion rush seat may be made of cord. 



CHAIRS 



141 




In Fig. 133 is shown another 
style of rush seat. This seat 
may be used on any size chair 
or footstool. A board may be 
used inside of the rails instead 
of the frame and rush seat. 
This seat is shown in posi- 
FiG. 133. Rush seat tion in Fig. 134. Such seats are 

suitable for the best chairs. It is made on a frame 

which should be carefully fitted inside of the rails. 

Fig. 136 gives the dimensions of 

the chair and frame for the rushes. 

The rushes are put on in the same 

way as are those in Figs. 122 and 

131, except that the strand is much 

finer. If the seat is very long, as 

in the hall seat (Fig. 162), the 

rushes may be put on two or more 

separate frames. 

In making these' 

frames, the edges over 

which the rushes pass 

should be carefully 

rounded as shown in the 

detail drawing in Fig. 

136. Notice that the 

inner edges of the frames 

are beveled to avoid 

breaking the rushes. Fig. 134. Rush seat chair 




142 ELEMENTARY CABINETWORK 

A method of chair construction which is quite 
substantial, is illustrated in Fig. 135. The chair 
is made the same as Fig. 124, except that the 
top ends of the front legs are flush with the 
top edge of the rails, and a wide 
border is used around the seat. 

In making the border for the 
seat, mortise and tenon the corners, 
and then fit the frame to the top, 
the same as if it were a solid piece. 
Instead of fastening it in place with 
screws, as would be proper for a solid 
seat, it should be carefitlly fitted to 
the rails and glued. 
Screws may also 
be used. 

The inner frame 
and the rush seat- 
ing are the same as 
shown in Fig. 133. 
Instead of the rush ;| 
seat, the outer 
frame may be rab- 
beted and receive 
a leather seat, 
either plain or Fig. 135. Rush seat chair 

stuffed. Holes may be bored in the frame and a 
regular cane seat woven in. A reed seat may be 
woven over the inner frame, similar to the rush seat. 




-CHAIRS 



143 






^^ ^ 

V 


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J 




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/I 


J 
> 

1 






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/i 








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1 H- 



Detail of seat frame 



51^ 




Fig. 136. Rush seat chair 



144 



ELEMENTARY CABINETWORK 





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Hm 









Any of the de- 
signs having 
rails on a level 
with the top of 
the front legs 
maybe modified 

to receive this Fig. 137. Ends of leather and nails 

style of seat. The shape and size of parts of the 
outer frame may be changed. Make a complete 
drawing before beginning work on the chair. 

Woven Leather Seat Chair. This chair (Fig. 
138), is substantially the same as Figs. 125 and 
134, with the exception that it 
has a woven leather seat. The 
directions for making it are the 
same as those given for Fig. 124. 
The sizes of the chair photo- 
graphed are shown in Fig. 139. 
In fastening the leather in 
place, first secure one 
end of a strip by nailing 
with tacks, small nails, or 
brads Then stretch the 
piece as tightly as you can, 
and fasten the second end. 
If the pieces have been 
cut too near, the correct 

length, you will need some 
Fig. 138. Woven leather r - v 

seat chair sort of pmcers or phers 




CHAIRS 



I4S 



with which to grasp the ends of the strips. Place 
outside strips tightly against the legs, and divide the 
space equally for remaining strips. Drive the tacks 
or small nails to place, and cover the heads with 
fancy nails (Fig. 137). This chair may be modified 
by using smaller stock or by using more and larger 




Fig. 139. Woven leather seat chair 

stock (Fig. 148). This seat (Fig. 138) may be used 
on chairs or stools having legs with finished ends 
projecting above the rails. The leather may be 
fastened to rails of any width, or around rungs like 
those used in rush or rattan seats (Figs. 131 and 140). 



146 



ELEMENTARY CABINETWORK 



Suspended Leather Seat Chair. A style of leather 
seat which requires a special frame is shown in 

Fig. 140. This is not diffi- 
cult to make, nor would 
there be as much w^ork on 
it as on Fig. 138 if it were 
no larger. In its smaller 
and more simple form (Fig. 
142) it is one of the easiest 
chairs having mortises and 
tenons you can make. 

The direc- 
tions for face 
edges, mortises 
and tenons, 
clamping, etc., 
given in the 
general direc- 
tions include 
about all the 
instructions 

Fig. 140. Suspended leather seat chair rCQuired for 

making these chairs. The length between the ten- 
ons of the two pieces beneath the seat is found by 
adding to the length between the tenons on the top 
back cross rail an amount equal to twice the space 
from the face corner of the leg to the surface of the 
side rail. In the drawing (Fig. 141) this is 18 inches 
plus two times J inch. Should you use a different 




CHAIRS 



147 



size of stock or wish to locate the rails differently, 
the proper length may be easily determined in 
this manner. Instead of the two square cross rails, 
one wide rail may be used. In a very light frame 
the side rails may be much lighter, and turned rungs 
used instead of the cross rails. 



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7(5 



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FiG. 141. Suspended leather seat chair 

Probably no other design in this book offers a 
better opportunity for the use of the keyed mortise 
and tenon joints. The top back rail and the two 
side rails may have double keyed tenons at each end. 
(Fig. 16). The cross rails beneath the seat should 
have one key at each tenon, or if a wide cross rail is 
used it should be keyed the same as the side rails. 



148 



ELEMENTARY CABINETWORK 



The leather may be folded and fastened around 
the round pieces (Figs. 140 and 143), or it may be 
nailed to the pieces (Figs. 137, 142, 
and 144). In the latter case, the 
rails are square and rounded only 
on the upper and under front 
corners. In Fig. 140 the pieces 
were turned in a lathe. In Fig. 
143 is shown how the 
appears from the back of 
the chair. In Fig. 1 44 the 
leather is nailed at the 
front side with small- 
headed nails; having 
been nailed first at the 
back side with small nails 
and then with fancy- 
headed nails. Fig. 142 
is the same as Fig. 144, 
except that one rail is 
omitted and the top rail rabbeted so that the leather 
will be flush with the surface of the rail. 

The leather is first nailed in the rabbet with small 
nails, and these are then covered with flat-headed 
fancy nails that will not project much beyond the 
surface of the rails. Either style of back may be 
used with the front and side rails shown in Fig. 
138. This is an easier form of construction and is 
usually more satisfactory for small chairs. 




Fig. 142 



Suspended leather 
seat chair 



CHAIRS 149 

All of these designs may be greatly modified in 
outside dimensions, and also in size of stock. The 
width and number of strips of leather, too, may be 
changed. 

By studying Figs. 138, 140, 142, and 145, and 
by combining or modifying elements selected from 
each, a large number of good designs can be made. 
If you wish to get the most from your work, begin 
the preparation for your design by studying and 
measuring such chairs as you can find in your home 
or elsewhere. It is not enough to make the measure- 
ments, you should in every case attempt to discover 
why they are as they are. No rules worth while can 
be given for these sizes ; for the 
variety of forms and reasons 
for them are so great that you 
would find it extremely diffi- 
cult to apply any rule. Do not 
fail, in all your study of such 
forms as you find, to recognize 
the fact that many 
shapes and sizes are 
not what they ought 
to be, but what the 
manufacturers could 
easiest make. One 
point of contrast, 
which you will 
notice in comparing Fig. i^. Back of chair 




ISO 



ELEMENTARY CABINETWORK 



Fig. 143 with many chairs of commercial design is 
the use of substantial square or thick stock i;istead 
of thin flat stock ; placed with the wide surface so as 
to indicate strength which does not exist. 

In the matter of leather and its fastenings you 
also have opportunity for 
much originality. From the 
use of one wide strip, laced at 
ends and sides, to the use of 
many narrow strips, laced or 
woven in intricate patterns, 
you will find ample opportu- 
nity for both study and work. 
There is not only opportunity 
to use leather of different 
shades to suit the color 
or stain on the wood, but 
the tooling of patterns 
may also find an appro- 
priate place. 

In applying the leath- 
er first nail on end of the 
short strips, then draw 
the piece as tight as you 
can and nail the other end. 
have been fastened, nail the top ends of the long 
strips with brads, the brads to be covered with fancy 
nails. Clamp a stout piece oLwood across the seat, 
then draw the pieces as tight as you can and nail 




Fig 



144. 



Suspended seat chair 

After the short pieces 



CHAIRS 



151 



them at the front. All the finishing should be done 
before the leather is appHed. 

The leather should be of a grade suitable for 
belting, and not such as is usually used for uphol- 



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5 



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irk 




Fig. 145. Suspended leather seat chair 

stering. It should be quite pliable, r.nd smooth 
on the under side. Much of the belting leather is 
too stiff for such use. The safest plan is to procure 
leather cut from the side especially for such use. 
For light chairs the leather may be split to the thick- 
ness desired. Smooth and stain the rough side. 



152 



ELEMENTARY CABINETWORK 



Upholstered Chair. This chair (Fig. 147) is still 
a little more difficult. Instead of there being two 
^^^^^ pieces at the side as in Figs. 124 and 

^^^^^^^[^ 138, there are three, and the wide 
fl^^^^HHl rails are four inches wide instead of 
H I^^H^H "three inches, as in Fig. 124. 
H ^^H H All the required directions for 

H^^^H H making and 
HH^^^hH finishing are 
^P^^I^^H found in Part 
H Fi I under the 

FiG.i 46. Chair back topics *Tace 
Marks," "Mortises and Ten- 
ons," "Smoothing," ''Clamp- 
ing," etc. Read all of Part 
I carefully before beginning 
work on this chair. 

The sizes 
given in the 
drawing (Fig. 
148) may be 
modified by 
using heavier 
stock, or by 
making both the 
seat and back 
lower. The top 
rail maybe made 

of I J -inch stock Fig. 147. Upholstered chair 




CHAIRS 



153 



to give more surface for the tacks used in uphol- 
stering. The desirabiHty of this change depends 
upon what the chair is to be used for. 

Fig. 146 shows a modification to correspond with 
the hall seat (Fig. 162). Two or more pieces may 



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t 









'^ 



// 



A^ 



/3' 



f6s 



Fig. 148. U pholstered chair 




•^lHj 



be used in place of the single vertical piece in the 
back, or a number of squares (Fig. 159) may be used. 
The hall seat may have groups of narrower pieces or 
square spindles to correspond with the chair design. 



^54 



ELEMENTARY CABINET\'v^ORK 



Large Armchair. This chair (Fig. 149) is a 
desirable project for pupils of the first year in high 
school who have learned to make joints well. It is 
more difficult than the small chairs, because the 
pieces are longer and because close joints are required 
in the back. All the joints are simple, and if the 




Fig. 149. Large armchair. 

pupil is careful to have every piece out of wind, 
straight, square, and of proper size before laying out, 
he is not likely to have any trouble in making 
the pieces fit together at the first attempt. 



156 ELEMENTARY CABINETWORK 

Be particular to select the wood so that the 
arms, front legs, and the 4-inch piece used for the 
front rail show a fine figure. 

The exact order in which the pieces are worked is 
immaterial. In working the legs and rails follow 
the general directions in Part I for such work. 

Lay out and work the mortises for the vertical 
pieces before gluing the side rails in place. The 
spaces may be determined by spacing the rail and 
then transferring the marks to the arm by super- 
position similar to Fig. 13. By drawing light lines 
on the arms corresponding with the shoulders of the 
tenons on the rail, you will have points at which to 
locate the arms in marking the dowels. The position 
of the mortise in the width of the arm should be 
calculated from measurements on the drawing. 

Clamp a front and a back leg with the piece for 
one side (Fig. 72), and if the joints are correct, glue 
them after scraping and sandpapering them as de- 
scribed in "General Directions" under "Smoothing," 
page 79. After the side rail and legs are glued 
together, the arms should be glued in place. (Fig. 73.) 

In working pieces of this length and size you 
must be very careful to make good joints, for a varia- 
tion in your work will show much worse than it 
will on a small piece. 

The arms should be of selected stock and well 
finished. Joint the edges and finish the ends with 
the plane. Draw the lines for the small portion at 




CHAIRS 157 

the back end with knife, try-square, and gauge. Saw 

close to the Hnes and finish with a chisel. Use a 

shearing cut, 

either laying the 

piece on the bench 

or holding it in 

the vise. Lay the 

arm on the bench, 

bottom side up, 

and place the legs 

in position on it, Fig. 151. Marking for doweling 

using the lines drawm for the inside edge of the legs 
in laying out the mortises. With the point of the 
knife blade (Fig. 151) make a mark at the side of 
the leg on both the leg and the arm at the same 
time. Make similar marks at the three remaining 
face sides of this pair of legs. Remove the legs 
and, with a gauge set to these marks, draw gauge 
lines to cross near the center of the end of each leg. 
With the gauge head against the face edge of the 
arm and set to each knife mark, extend the two Hnes 
on each arm, and with the try-square draw lines 
from the other two marks, crossing those drawn 
with the gauge. At the places on the top ends of 
the legs and at the two places on the arms where 
these lines cross, bore holes for dowels. Remember 
that the arm is thin and do not bore the hole too far. 
Instead of using only one dowel in each leg, you 
may use two. In this case they are located as 



158 



ELEMENTARY CABINETWORK 



^^ 



^^ 



Fig. 152. Locating 
dowels in legs 



shown in Fig. 152. Instead of one mark at each 

face side, two are made, and the holes are bored at 
the crossing of the Hnes drawn 
from these marks. 

Insert the dowels and place 
the arms in position; see if the 
front and back joints, also the 
joints at the ends of the vertical 
pieces, are all right. If they are, 
glue and clamxp them. Glue the 
pins into the arms first, and then 

glue the arms to the legs. Clamp them as shown in 

Fig. 73. Test the frame for wind, square, etc. (PageSp). 
The backs of these chairs may 

be modified to suit. In each 

large chair is shown a different 

style of back, yet many other 

styles are suitable. The most 

common fault in designing 

backs for such 

chairs is to make them 

too light. The stiles 

should be large 

enough no]t to be 

weakened by the 

tenons of the rails. 
To support the 

cushions, strips are 

placed across the Fig. 153. Large armchair 




CHAIRS 



159 




^S^^jT'-i 



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zi 














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1 


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T 








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I 








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n 



i6o ELEMENTARY CABINETWORK 

frame. These strips may extend either from front 
to back or from side to side. Their width is not 
material, and consequently they should be made of 
defective or discarded stock. However, these strips 
should be strong and somewhat elastic, and there- 
fore should not contain any defects that might 
weaken them. Beneath their ends, and securely 
nailed and glued to the frame, are placed two strips 
to support them. There are many possible modifi- 
cations of this design. Fig. 1 53 is a Hghter frame and 
a little easier to make. In this design the side rails 
are so arranged that their tenons are not on the 
same line with the front and back rails. This makes 
it possible to use smaller legs. 

Large Armchair. In Fig. 155 
we have a very substantial design, 
which follows closely, in methods 
of construction, Fig. 149. Its 
chief difference is that the legs 
are not square. 
The other fea- 
tures may be 
used on either 
design. Fig. 156 
gives the ordi- 
nary dimensions. 
Fig. 159 shows a 
style of filling for 
Fig. 155. Large armchair ^^^ side which 




CHAIRS 



i6i 




l62 



ELEMENTARY CABINETWORK 




may also be used on either 
design. Such spindles are 
suitable for many places — 
in chairs, tables, etc. They 
may be used either in a ver- 
tical or horizontal position. 
If the chair is to be held 
together with rods (Fig. 
158), the seat frame is Fig. 157. Seatframe 
made separately (Fig. 157) and is placed in position 
before the rods are tightened. 

Knockdown Armchair. Fig. 1 58 is very similar to 
Fig. 153. A modification of con- 
siderable importance, although 
scarcely visible, is the rods which 
extend entirely across both front 
and hack just inside of the cen- 
ter of the front and 
back rails. In 
Figs. 61 and 62 
these rails are shown 
with the grooves for 
rods. The grooves 
may be made with 
a plow or by several 
kerfs of a circular 

saw. These rods 
Fig. 158. 't^J 

Knockdown armchair termmate m nuts at 




CHAIRS 



163 



each side. By removing the rods the chair is taken 
apart for packing. This arrangement makes it pos- 
sible to cover the ends of the rods for the hinge and 
for the support of the back. In Fig. 158 the side 
rails are 2 2 inches between the legs, and the front and 
back rails 20 inches. There are several methods of 
hinging the back. Fig. 155 shows hinges connecting 
the lower rail of the back with the upper edge of the 
cross rail, and an adjustable rod behind the back. 
The rod is adjusted by means of the 
notches as shown in Fig. 160. The rod 
maybe of metal with metal ball's (Figs. 
149 and 153), or of wood (Fig. 155). 
The metal rods 
used for the 
arms should 
be f inch in 
diameter and 
28 inches long 
over all. For 
the lower rod, 
which forms 

the hinges, the Fig. 159. Large armchair 

usual method is to get a y^g-inch rod, 24 or 26 inches 
long, and cut from each end a piece of the required 
length. The casting used on Fig. 149 is the regular 
curved brass sold by dealers. It is straightened by 
laying on a fiat iron and striking a hard wood block 
held in the adjusting places. File flat surface smooth. 





1 64 ELEMENTARY CABINETWORK 

The wooden rod is made the same as the cylinder. 
(Elementary Woodwork.) The ends are cubes with 
their corners cut 
off (Fig. i6i). 
The back of Fig. 

149 is also hinged to the rail, but the 
adjusting rod is held by a casting. 
The back of the chair (Fig. 153) is 
secured by two short rods passing 
through th@ legs and into the sides of Fig. 160. Adjust- 
the stiles near the bottom end. The ^'^^ ^^''^"" 
upper end of the back is supported on the adjusting 
rod, which passes through holes in the narrow end 
of the arms. In Fig. 158 these rods are similarly 
placed except that they are cut short, so that their 
ends do not extend through to the outside of the 
legs or arms. 

The height of the legs may be varied to suit 
particular needs. If casters like those on Fig. 149 

are to be used, the legs 
must be shorter than if 
no casters were to be 




used. If ball-bearing ball 
casters are used, they 
should be set up into the 

Fig. 161. Cube on end of rod ^^^ ^^ ^^^ ^^^ ^^ ^5 ^^ ^^ 

scarcely visible. One-fourth inch projection will do. 
The thickness of the cushions should be consid- 
ered also in planning the height of the rails and arms. 



HALL SEAT 
HALL SEAT 



165 



Directions for Making. This hall seat (Fig. 162) 
may be modified to correspond with the various 
styles of chairs. The vertical pieces may be omitted 
and the back rail raised. The band formed by the 
lower rails may be either straight as in this figure, 
or broken as in the chairs (Figs. 147 and 153). The 




Hall seat 



size of stock may be heavier than in the chairs as in 
the drawing, or of the same size. The legs may be 
rectangular as in the armchair (Fig. 155). The seat 
may be of soft wood, but will look better if made of 
the same wood as the other parts of the piece. 



i66 



ELEMENTARY CABINETWORK 



In doing this work, follow the general directions 
in Part I. Read also what is said in regard to mak- 
ing chairs. The back should be the first part to be 
glued together, following the methods of clamping 
shown in Fig. 76. Test it in every possible way. 
Some of the tests are indicated in Figs. 66, 67, 
and 68. It is essential that such large pieces rest 
firmly while the glue is drying or they may change 
shape. The front is clamped, as shown in Fig. 64. 




Fig. 163. Hall seat 

As these pieces are large and long, even a very 
small variation at a joint .may do considerable 
harm; therefore, test every corner and angle care- 
fully. Looking for wind or twist (Figs. 69 and 70) 
is also very important. If the steel square is not 
long enough to use in looking for wind, make two 
straight edges. Be sure that they are straight and 
their edges parallel and look toward the light. 



HALL SEAT 



167 



Clamping. In Fig. 164 is shown how to clamp 
front and back together. Notice the clamp that has 
been placed diagonally across the seat. This is to 
pull the corners square; this clamp usually requires 
but a very little tightening. Notice that the clamps on 
one end are not horizontal. This is to bring the verti- 
cal joints at the end square and the piece out of wind. 




Fig. 164. Clamping hall seat 

The arms are doweled both at the back end and 
on to the top of the front legs. Two |-inch dowels 
should be placed at each joint. The clamping of 
arms to place will require patience and care. Fig. 
165 shows how this is accomplished. If you lack 
clamps for securing the arms in this manner, they 
may be held by screws. Drive these into the front 
leg from the top, and into the back end of arm 
through the back leg. Use flat headed screws cov- 
ered with plugs dressed flush with the surfaces. 



i68 ELEMENTARY CABINETWORK 

The Seat. The seat should be carefully fitted 
and put in place from below. To do this, fasten 
the cleats, upon which the edges of the seat are to 
rest, and then put the seat in position. After the 
seat is placed in position, glue and nail the end 
cleats in place. 

A box may also be constructed beneath the 
seat, and the seat hinged to the back rail. 




Fig. 165. Clamping arms of hall seat 

If the top end rails are made thick enough to be 
even with the lower end rails on the outside, and 
flush with the inside edge of the legs, the seat can 
be put in place by shoving it in from the front over 
the front rail. It may then rest on the cleats with- 
out being fastened and may be removed at any time. 
Yet another plan is, to put a cross rail from front to 
back at the center, and make the seat in two parts. 



TABLES 
TABLES 



169 



Drawing Table. The only difficult part of the 
work in making this table (Figs. 166 and 167) is 
the joining of the 
strips for the top. If 
you want a nice top, 
make it of strips of 
pine not over two 
inches wide. The 
proper methods of 

jointing and gluing _ ^ ^^ ^ ^ ^^ 

are described under 
the topic of "Glue 
Joints." Study care- 
fully all that is said 

under that heading |] Fig. 166. Drawing table 

before attempting to make the top for the table. 

The sizes given in the drawing (Fig. 168) are for 
a light table, which can be taken apart and packed 
in a trunk. If a more rigid table is desired, the 
parts may be made heavier. 

A table of the sizes given in the drawing should 
be sufficiently rigid for ordinary home drafting. 

First make the top and finish it with one light 
coat of shellac. When the shellac has thoroughly 
dried, sandpaper it to a smooth surface. The top 
should be true in every particular — out of wind, 
edges all straight, and corners square. 




I70 ELEMENTARY CABINETWORK 

The cleats should be straight-grained and well 
seasoned, and of the same width as the legs. The 
ends may be beveled and chamfered. Bore holes 
with an auger bit to allow the screw heads to sink 
about halfway through the cleats. The hole for the 
shank of the screw should always be large enough 
to let the screw go through easily. The point of 
the screw should extend nearly through the top. 

The small blocks at one 
end of each cleat should 
be of the same thickness as 
the legs. They should be 
glued and nailed with four 
wire nails in each block. 
These blocks must be placed 
on the outside of the cleats 
and at their back ends. The 
cleats are not interchange- 
able. The legs are also in 
Fig. 167. Drawing table pairs. The ends should be 
rounded with a chisel, using the shearing cut (Fig. 
85). The slots may be worked the sarne as a 
mortise by lining with the gauge, boring holes, and 
finishing with a chisel. Another way is to start a 
hole at one end of each slot, saw down each side, 
and finish with a chisel. The sawing may be started 
with a compass saw (Fig. 169). As soon as there is 
room for the point of a ripsaw to enter the kerf, it 
should be used. 




TABLES 



171 



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172 



ELEMENTARY CABINETWORK 




The holes in the top ends of the legs for the hinge 
screws should be carefully bored and countersunk. 

The braces should be 
bent so that they will 
not throw the legs into 
wind. Their location on 
the legs is immaterial. 
The usual mistake in 
making the braces is in 
getting them too heavy. 
The bolts may be ordi- 
nary machine screws 

Fig. 169. Sawing slot in leg with COmmon wing 

thumb nuts. The washers you will have to make, 
for those on sale have too small an outside diame- 
ter for the size of the hole. The lower part of the 
table may be given any finish. By making the top 
20 inches by 36 inches and i inch thick, and the 
legs 32 inches : 
longby 2 inches 
by } inch, you 
have a fine 
sewing table 
(Fig. 170). A 
top, 24 inches 
by 36 inches, 
requires legs J 
inchby 2 inches 

by 36 inches. | Fig. 170. Sewing table 




TABLES 173 

Before attempting to make any table, go over all 
of the designs and study their chief features. Note 
variations in height, width, and length; also sizes of 
stock used. Consider the various methods of joining 
the parts. After studying all of these designs, begin 
your own design by deciding whether your table is to 
be round or rectangular. Next, if it is to be a light 
table or one more substantial. This should be deter- 
mined by its use and, partly, by the place it is to occupy. 
Determine if any of the parts are to be turned, or all 
left rectangular or square. Following this is the deter- 
mining of the patterns for each part. Turned parts 
must be carefully planed to make sure that joints will 
be at fiat surfaces, and also have material enough for 
strength. In laying out the joints it is a good plan to 
look out for surface enough to furnish suitable working 
faces, and proper bearings for the try-square. If no 
turning is used, you yet need to look out for the joints. 
Tapered legs, if tapered the whole length, add much 
to the work and care in making the joints. Whether 
the joints should be doweled or made by mortises and 
tenons must be decided, and should be shown in the 
drawing. The sizes of legs and rails may determine 
this matter. In planning your table, decide which 
kind of wood to use in each part, the kind of finish, 
and what hardware to use, if any. The legs may 
be made long enough not to use casters ; cut off, if 
casters are wanted. Plan every item and then make 
a complete working drawing. 



174 



ELEMENTARY CABINETWORK 



Round Top Table. The top for this table (Fig. 
171) should not be less than i{ inches thick nor 
more than 24 inches in diameter. The better way 
to make it is by gluing together at least four pieces. 
These pieces should be carefully selected in order 
to avoid warping. Of course, all parts should be 
thoroughly seasoned and kiln-dried. Read what is 
said on page 57 about the making of glue joints and 
follow the directions, for this top will not be durable 
unless properly made. 

After the glue has become thoroughly dry, dress 

one side of the top 
straight and out of 
wind. Next reduce 
the piece to an even 
thickness by gauging 
all four edges and 
planing down to the 
gauge lines. After it 
has been worked to an 
even thickness, glue 
a block to the center 
of the top or face side 
and strike a circle by 
which to work the 
outer edge (Fig. 96). 
Fig. 171. Round top tc^le ^]^{^ circle may be 

sawed with a compass saw (Fig. 97) or roughed 
out with a drawshave (Fig. 173). 




TABLES 



175 




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In either case, it will require smoothing with a 
plane (Fig. 174). An iron smooth plane is undoubt- 
edly the best tool for use in 
smoothing such a surface. 
The spokeshave does not 
give as good results, is 
more difficult to use, and 
requires more time. In no 
case use a file on such an 
edge. 

In testing the edge be 
very careful to keep the 
head of the square always 
pointing toward the cen- 
ter of the circle (Fig. 100). 

After the edge has been 
planed smooth, it should 
be sandpapered. At first 
use No. I J sandpaper on a 
block, using the edge of 
the block (Fig. 175). This 
block is held on edge to 
avoid rounding the edges 
of the top. Following the 
block, the paper should be used over the thumbs 
(Fig. 176). The surface is finished in the same 
manner as are those of rectangular tops (page 79). 

The shelf is made in the same way as the top. 
As there are no crosspieces under the shelf, special 



Fig. 



Round top table 



176 



ELEMENTARY CABINETWORK 




care must be taken to have it so well made and of 
such material that it will not warp, twist, or check. 

The legs are 
worked in 
the ordinary 
manner. The 
mo rtises 
must be just 
in the cen- 
ter of the 
legs, and the 
tenons ex- 
actly in the 
center of the 

Fig. 173. Using drawshave crosspieces. 

In most work it is not necessary to have the mortises 
in the center of the legs; and in such cases it is a 
waste of time and a sign of poor workmanship to fuss 
about so locating them. But here the pieces are so 
located that both sides of the legs show alike, and 
therefore the mortises must be at the center. This 
is also necessary in order to bring the various parts 
into proper line. To locate the mortise at the center, 
find the center of each leg by measuring with the 
rule, then measure half the width of the mortise or 
tenon each side of the center and set the gauge to 
these marks. 

Determine the point at which to bore the hole 
for the dowel, and bore it before working the gain. 



TABLES 



177 



Be very careful to have the hole exactly in the center, 
and just as far from the upper edge of the gain as the 
space at which you set the gauge for gauging at the 
edge of the shelf. 

Any variation in these holes will throw the legs 
out of square, and this will be extremely difficult to 
remedy. Therefore, be very particular about every 
line. Before marking the width for the gain in the 
leg into which the edge of the shelf fits, measure 
the thickness of the shelf and, if necessary, change 
the dimensions to correspond with the shelf. 

The shelf being round, requires a gain deeper 
at the center than at 
the edges, and this 
must not be over- 
looked. To deter- 
mine the amount of 
this variation, draw 
a short arc of a circle 
on a piece of waste 
material, and draft 
the width of the leg 
and the depth of the 
gain at the center 
and at the edges. 
Draw gauge lines of 

the proper depth at Fig. 174. Planing a circle 

the edges and work the gain; measuring the depth 
at the center as the work proceeds. 




178 



ELEMENTARY CABINETWORK 



When the crosspieces to support the top are 
made and the halved joint finished, the ends are laid 
off by clamping the two pieces together and adjust- 
ing them to the gain at the center. Find the exact 
center, and measure equal distances each way ; then 

draw lines for the 
inside ends of the 
tenons, the same 
as in laying off 
tenons for chairs 
(Fig. II). 

Before making 
the lines for the 
inside ends of the 
the tenons ex- 
amine the shelf 
carefully, and if it 
varies in size from 
the drawing, cut 
the tenons to 
match the shelf. 
Notice that the 
shelf is let into 
the legs -^ of an 

Fig. 1 7 5 . Sandpapering edge j^^j^ ^^ ^^^ center 

of the leg, and therefore the total length of the cross- 
pieces between the tenons is f inch less than the 
diameter of the shelf. After determining the inside 
lines for the tenons, locate the center of the edge 




TABLES 



179 



and measure each way for the width of the tenon. 
Compare the Hnes as shown in Fig. 8, and if correct, 
draw gauge Hnes on both edges and ends. Set the 
gauge so as to draw all the lines from the face side. 
Compare all the lines before working the tenons. 

After the tenons have been worked, glue cross- 
pieces together, clamp them in position on the shelf so 
that each end will be exactly opposite the dowel hole 
in the shelf. Glue the dowels into the legs and when 
the joint in the crosspieces is dry, glue the frame and 
shelf together. Secure the top, as shown in Fig. 82. 

This table may be modified by changing the 
sizes or by making the top or shelf square. With a 
square shelf, it is similar to the taboret (Fig. no). 

If the legs are 
extended through 
the top, it is made 
similar to Fig. 94 or 
Fig. 177. 

Any of these 
styles of tables may 
have turned legs. 
Turned cross rails 
may also be used. 
The patterns for the 

turned parts may be Fig- 1 76. Sandpapering edge 

similar to those shown in Figs. 182, 186, or 238. 
Several of the designs in "Elementary Turning" may 
readily suggest patterns for table legs or rails 




i8o 



ELEMENTARY CABINETWORK 



Leather Top Table. As the top of Fig. 177 is to 
be covered with leather, it may be of soft wood. 

Although this 
style of table is 
usually made as 
large, or larger, 
than the di- 
mensions given 
in the drawing 
(Fig. 178), it 
may be made 
of the same 
size or smaller 
than Fig. 171. 
The thickness 
of the top 

Fig. 177. Leather top table should be pro- 

portioned to the width, as the strength of the top 
has much to do with keeping the table in good 
shape. The crosspieces~should be halved at the 
center and tenoned into the legs. The top and the 
shelf are made in the same manner as those used in 
Fig. 171. They should be secured to the crosspieces 
as shown in Fig. 82. The two pairs of crosspieces 
should be exactly alike. If one is secured to the 
other as the glue at the halved joint dries, it will 
help to make them alike. 

The top should be clamped against the ends of 
the legs, and the notches for the ends of the legs 




TABLES 



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Fig. 178. Leather top table 



1 82 ELEMENTARY CABINETWORK 

marked by scribing around them, the same as for 
the seat of the chair (Fig. 130). The chamfering of 

the top end of 

'^ ' the legs should 
not be done 
until after the 
notches in the 
top have been 
marked. The 
lines for the 
notches may be 
carried around 
the edge (Fig. 
103). Be sure 
Fig. 179. Light table ■ to mark the top 

so that it may be returned to the same position. 
This table may be modified by making the top and 
shelf octagonal, hexagonal, square, or rectangular. 
The legs may be doweled to the underside of the top, 
the same as in Fig. no. For this size table, two dow- 
els should be used in the top of each leg (Fig. 152). 

This is a good style for a polished hard wood top. 
If the table is to be polished, all the parts should be 
fitted and then the top and shelf removed and pol- 
ished before the final fastening together. 

In Fig. 1 7 7 is shown the table with top prepared 
for a leather covering. The leather should be care- 
fully stretched and fastened around the edge with 
large headed nails, similar to those shown in Fig. 137. 




TABLES 



83 



Light Table. There is very little about this 
table (Fig. 179) that is difficult to make except the 
glue joints in the top, and these should be made 
with all possible care (page 57). As the legs are 
long and the tenons on the rails short and narrow, 
it is essential that the joints at the corners be quite 
perfect. The directions for making mortises and 
tenons, glue joints, legs, etc., apply to tables as well 
as to chairs and other i)ieces, and cover substantially 
all the information required except that of making 
and fitting the drawer. 

If the legs are to be tapered, the taper should 
not include the parts which contain the mortises 
and the parts against which the rails are fitted. 

If a drawer is to 
be used, the rails 
are glued together 
as shown in Fig. 
180. This frame- 
work may be joined 
either by dowels or 
by mortises and 
tenons. When the 
legs are clamped to 
the front and back 
rails, there should 
be a piece in the 
draw^er opening as 
shown in Fig. 185. 




Fig 180. Rails and drawer runners 



1 84 



ELEMENTARY CABINETWORK 



Be very particular to make this frame square, or 
the drawer will not work properly. Read the direc- 
tions for tapering legs (page 37), for fastening tops 
to frames (page 96), and also for clamping and 
finishing. If the table is to contain a drawer, read 
what is said about making drawers (page 53). 

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Fig. 181 (o). Light table 

This table may be modified by using turned legs ; 
by omitting the. drawer ; by making the top heavier, 
or by tapering the legs to i inch square at the bottom. 



TABLES 



185 



If the legs are to be turned, the top should be 
smaller or the stock for the legs larger. The difficulty 
in making light tables is to make them strong enough 
where the rails and legs join. The difficulty is much 
less if rails are used near the bottom of the legs, as 
where there is a shelf, although rails are used with- 

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out shelves. If the legs are light use dowels at the 
ends of the rails, and strengthen the joint by using 
strong glue blocks on the inside corners. 



i86 



ELEMENTARY CABINETWORK 



Library Tables. This table (Fig. 182) may be 
made either with or without the drawer. For many 
uses a smaller top would be better. The dimen- 
sions of Fig. 182 are given in Fig. 183. 




Fig. 182. Library table 

If it is necessary to match other pieces of furni> 
ture, all the parts may be of heavier material. The 
turning may be omitted, or the legs may be turned 
their entire length except at the joints. The middle 
portion may be cornered in the lathe and dressed to 
an octagon with a smooth plane. As is usual with 
tables, the table top is the difficult part to make. 
Read all about **Glue Joints," page 57, before be- 
ginning work on it. The framework is made in 
the same manner as that for an ordinary footstool. 
The parts of the ends are first glued together, and 



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i88 



ELEMENTARY CABINETWORK 



then the long side pieces and shelf are glued into place. 
Be careful to glue the pieces straight and square. 
Examine the end for wind as shown in Fig. 184. 




Fig. 1 84. Sigliting for wind 

Place the steel square and try-square as shown in 
Figs. 67 and 68. If the table is to have a drawer, 
the sides and rails are glued together before the 
ends are attached, as shown in Fig. 180. 




Fig. 185. Gluing together 



In gluing the whole together place a temporary 
piece in the drawer openings as shown in Fig. 185. 



TABLES 189 

The drawer should be made as directed on page 
53. As this is a large drawer, more care will be 
required in making it. The joints at the corners 
should be dovetails. The front joint should be half 
blind, and the back corners common open dovetails. 

This table (Fig. 186) is similar to Fig. 182 with- 
out the drawer. Read the instructions given for 




Fig. 186. Library table 



making Figs. 179 and 182, as they apply quite closely 
to the work on Fig. 186. The turning on this table 
is not so difficult as that on Fig. 183, and may be 
dispensed with entirely. 

The shelf rests on the top of the lower rails, 
avoiding the joints at the ends of the shelf. The 



TABLES 



191 



shelf and cross rails beneath the shelf may be 
omitted. If these parts are not used, the joints at 
the upper end of the legs must bear all the strain. 
Unless there is a shelf, the legs should be tapered 
(Fig. 179). Legs turned the entire length below the 
rails may be used on such tables. As turned legs 
from the same size stock do not appear as large as 
square legs, either the top should be lighter or the 
stock for the legs larger, if the legs are to be turned. 




Fig. 188. Library table 

This library table (Fig. 188) is designed to be 
finished either by oiling or by varnishing and 
polishing. Instead of the keyed construction and 
screws, the parts may be glued. Study the design 
carefully and then make a design of your own. 



192 



ELEMENTARY CABINETWORK 



In making the top, read the directions given for 
glue joints, cross planing, veneering end grain, 
finishing, and polishing. The legs shown are hollow, 
being made of |-inch stock. The inside surface of 
one piece should be carefully trued, and two pieces 
fitted to this side. Nails should be driven at the 
inside corner so that the pieces may be kept in posi- 
tion while clamping, 
and then the parts 
separated and the 
glue applied. After 
two pieces have been 
glued to one side piece 
(Fig. 189), their edges 
should be jointed and 
dressed to width and 
the inside surface of 
the other piece fitted 
and glued. The pieces 
Fig. 189. Gluing up legs should be carefully 

clamped, so that they will be square and of proper size. 
The tenons and mortises are laid out and worked 
in the same manner as described under these topics, 
except that because the legs are tapered, either a 
tee bevel or a try-square, with a tapered piece against 
the head, must be used. 

The tapered pieces (Figs. 22 and 23) are better 
than a tee bevel and should be used by all who have 
not had much experience in lining. 




TABLES 



193 



The end rails may be either tenoned or doweled. 
The latter is probably the better method for hollow 
legs. For legs of this size, four dow^els should be 
used in each end of pieces 4 or 5 inches wide. 

The drawings (Figs. 190 a, 6, c, d) show the parts 
as used in Fig. 188. This design may be modified 
by omitting the shelf and lower cross rails, the 
drawers, and the sliding shelves. If no drawers are 
used there should be only one rail at each side. 






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196 



ELEMENTARY CABINETWORK 




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TABLES 197 

Large turned legs may be used in the same way 
as the columns in the piano bench (Figs. 193 and 
1 94) , or may extend to the floor. The drawer may be 
at the side instead of at the end. Such an arrange- 
ment would require a frame similar to Fig. 180. 

The top may be made of |-inch stock and a facing 
used the same as on the taboret top (Fig. 92). 
Such a top may be made thick enough to be used 
without rails at the top of the legs. The legs, in this 
case, would be secured to the top first by fastening 
pieces to the tops of the legs, and then by securing 
the pieces to the table top (Fig. 93). If casters are 
used on such tables, they should be set up into the 
bottom of the legs, so that they will not be visible. 
Use ball bearing ball casters in such places. 

A careful study of this design will provide much 
material for use in designing tables or stands of 
various sizes. By using solid legs, 4 inches at the 
top and 3 inches at the bottom and plain rails 4 
inches wide, you can make a table which will be very 
substantial and require less than half the time 
which would be required to make that shown in 
Fig. 188. The shelf may be omitted. In designing 
such large tables be very careful about the sizes. 
Measure the tables you have in your home, and you 
will get information of much value in making your 
design. Notice the difference in weight of different 
styled tables, for this is an important element 
in the design, especially of tables for library use. 



198 ELEMENTARY CABINETWORK 

PIANO BENCH 

A Plain Design. As this bench (Fig. 1 9 1 ) is a plain 
design, it is essential that the wood be selected with 
care. As the top is liable to warp unless made of 
several pieces, it should be made in very much the 
same manner as a table top. Sometimes a piece 
can be selected which is wide and yet not likely to 
warp. Pieces cut from near the center of the log 
so that they are fully quarter-sawed, are often of 
this nature (Figs. 44 and 45). 




This is not quite as necessary when using plain 
mahogany as when using oak. In factories, such 
pieces are often glued up of thin stock and then 
covered with veneering. Such a method is not 
deemed advisable for the high-school pupil, although, 
if properly done it will make a better top. The 
drawing (Fig. 192) gives the sizes of the parts. 



PIANO BENCH 



199 



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200 



ELEMENTARY CABINETWORK 



Columns. The columns should 
be of carefully selected stock. There 
is no need to allow any extra length 
for a stub at either end, for the ends 
will be simply |-inch round tenons, 
which will be entirely covered, and 
therefore, it is not necessary to cut 
off the marks made by the lathe 
centers. 

There are many possible patterns 

for columns. The designs given in 

Figs. 191, 193, and 194 may be 

copied or used as suggestions, or 

^^^ the columns may be square, as in 

■^^^V the taboret (Fig. 90). 

^^^^^P In making such columns it is 

^^Q3 necessary that all four be alike. In 

^^^^^ order to get them all exactly the 

same pattern, be very systematic 

in your methods of work. 

After the piece is in the lathe, 
first round it the entire length, using only the 
roughing gouge. Caliper and smooth each end 
enough for the beads or other pattern. Measure the 
length between the tenons and cut down with skew 
chisel and gouge to nearly the size of the tenon. 
Do not use a parting tool for cutting at the ends, as 
it cuts too roughly for such use. Use the sizing tool 
(Elementary Turning) and finish the tenon. Lay 



Fig. 193. Corner 
of piano bench 



PIANO BENCH 



20I 



out each end and turn the pattern. Turn the cylin- 
drical portion and then remove the column from 
the lathe. Turn all of the columns in this manner. 
Place them side by side and compare. If all are 
alike, sandpaper them ready for the stain or finish. 

Be sure to keep the center marks on each end 
so that the pieces may be returned to the lathe at 
any time. You may find it a good 
plan to fill and rub the pieces in 
the lathe, and even return them to the 
lathe for applying and rubbing the 
various coats of varnish. It is not 
likely that you will wish to polish 
them with shellac, as it will require 
too much time to give a similar finish 
to the top and other flat surfaces by 
hand. Several coats of varnish may 
be used, which should be given a 
smooth polish, resembling piano finish. 

Box. In making the box, the 
mitered corners are the difficult part 
of the work. If you have not made 
a mitered corner, make one according 
to instructions given in ' ' Elementary 
Woodwork," before attempting to 
make the corners for the box. Be 
very particular about these corners, 
especially at the outer angle, and 
when you think they are all right, try 



Fig. 194. Corner 
of piano bench 



202 



ELEMENTARY CABINETWORK 



them in the clamps (Fig. 195). Do not forget to rab- 
bet the place for the bottom before clamping the 
corners. 

After you are sure that every joint fits properly, 
size the ends with thin glue. Allow the glue to dry, 
and then scrape all the surfaces perfectly smooth. 
Apply fresh glue and clamp as before. Brads may 
be used in each corner to prevent the pieces from 
slipping out of place while clamping. These should 
be driven where the molding will cover them. 




Fig. 195. Box in clamps 

Be careful to have the box square in every way, 
and the clamps supported so that the box will not 
be in wind when the glue has set. 

After removing the clamps fit the bottom to 
place and glue and nail at least one piece at each 
end of the box to keep it in shape. After the bottom 
is in place, dress the upper and lower edges of the 
box and all four sides, testing all for squareness, 
straightness, and wind. Plan to use as little of the 
material as you can in squaring the piece. 



PIANO BENCH 



203 



Glue Block. The joints at the corners may be 
strengthened by use of glue blocks. If such blocks 
are used, they 
should be tri- 
angular in form 
and very care- 
fully fitted- both 
to the sides and 
the bottom, and 
should be large 
enough to re- 
ceive the dowel 
at the end of the 
column. They 
should be clamp- 
ed in both direc- 
tions (Fig. 196). Fig. 196. Clamping glue blocks 

Molding. The next step is making the molding 
strip. This is made by first squaring a piece and 
then rounding one corner with a plane. A block 
should be used under the sandpaper in smooth- 
ing the rounded edge. Be careful to keep the other 
edges sharp or they will show badly when the 
molding is in place. 

Fit the miters, using a brad at each corner to 
hold the molding in place. Glue a side and an end 
at one time, clamping them as shown in Fig. 197. 

After the box is finished you can then deter- 
mine the location of the columns, and likewise the 




204 



ELEMENTARY CABINETWORK 



length of the center rail. Should the box vary- 
any in length from the size which is given in the 
drawing, place the columns in the same relative 
position at the corners and make the lower frame 
to correspond. 

Rails. Locate the centers of the dowels on the 
bottom of the box and make the space between 
the cross rails such that their centers will exactly 
coincide with the centers of the dowels on the box. 




Fig. 197. Clamping molding 

This gives the correct space between the tenons 
on the center rail. 

Make the mortises and tenons and join the 
center rail and two cross rails, being extremely 
careful to keep all square and out of wind. 

Find the center of each cross rail and measure 
each way, one-half the distance between the centers 




PIANO BENCH 205 

on the bottom of the box. Where these lines cross 
the center of the width on the rail, bore holes for the 
tenons. 

The balls should be located so that they will be 
even with, or a lit- 
tle beyond, the 
outer ends of the 
cross rails, and in 
the center of the F^^- ^98. Balls 

width. The size of the balls may vary considerably 
from the drawing. In Figs. 191 and 192 they are 
the same diameter as the columns. In Fig. 193 
their horizontal diameter is the same as the columns 
and their vertical diameter J inch less. In Fig. 194 
their horizontal diameter is J inch greater than the 
columns and their vertical diameter J inch less than 
the columns. Remember that in turning balls hav- 
ing large tenons, the actual height of the ball to 
the tenon is less than the true ^diameter.- 

The balls should be turned from one piece 
(Fig. 198), and not cut apart until varnished and 
polished. 

After all the parts are finished, the hinges should 
be set, as directed imder the topic "Hinges," and 
the columns and balls glued in place. This gluing 
should be very carefully done as there is, consider- 
able strain on the joints. 

A chain should be secured to the top and inside 
of the box to hinder the straining of the hinges . 



206 



ELEMENTARY CABINETWORK 



MUSIC CABINET 

The making of a music cabinet (Fig. 199) is 
quite fully described under the topic heads ''Face 

Marks, ' ' "Mortises and 
Tenons," "Paneling," 
and "Hinges." 

The sides (Figs. 
201 and 202a) are sim- 
ply two pieces of 
paneling with the 
stiles extended both 
above and below the 
panel, and two addi- 
tional rails. These 
sides may be planned 
to have other panels 
between the lower 
and middle rails. 

The door is made 
the same as Fig. 208 
or the panels in Part 
I. The back may be 
a board, as shown, or 
a paneled piece the 
same as the door. 

Shelving. The 
shelving is most easily 
secured by fastening 




Fig. 



199. 



Music cabinet 



MUSIC CABINET 



207 



pieces against the side panels (Fig. 201). The 

panels might have been made thicker and placed 

flush with the inside of 

the stiles (Fig. 35). In 

that case grooves would 

have been cut in the 

panel for the shelf ends 

before the panel was put 

in place. 

The number of shelves 

(Fig. 200), as well as the 

length of the panels, 
maybe 
varied to 
suit in- 
dividual 

require- Fig. 200. Cabinet— open 

ments. The top and the bottom 

shelves are simply straight boards 

fastened to the rails by screws. The 

top extends over the end of the 

door and is gained into the stiles to 

prevent it from warping. The back 

is held in its place by screws at the 

lower end and tongue and groove at 

the top. This arrangement will admit 

of the cabinet being taken entirely 

apart by removing the door, top, 
Fig. 201. Side, ^ . \ j t 1 

inside view bottom, shell, and back. 





208 



ELEMENTARY CABINETWORK 



This design not only supplies sufficient directions 
for making a variety of music cabinets, but also 
furnishes all necessary information for making a great 
variety of cabinets, toilet cases, and other pieces. 

For the music cabinets, the simple modifications 
are the changing of the door to swing at the side, and 



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MUSIC CABINET 



209 



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the altering of the shelf arrangement. The height 
may be changed by omitting the open space below 
the shelves, or this space may be enclosed either 
with the one door or by using a second door. The 
interior can be arranged for other purposes without 
changing the outside, or you can retain only the plan 
of the outer frame, and build 
the entire project to suit your 
requirements. For this, you 
will have all the necessary in- 
formation in the discussion of 
the project and in the general 
directions. In all of your 
plans keep to the panel style 
of sides and doors. You may 
be able to make a case by 
using wide boards in these 
places, but the use of such a 
design will not yield a proper 
return for your time. For 
some purposes the shelving or 
other interior arrangements 
are made in the same manner 
as the pigeon holes (Fig. 212), 
and then slid into place. This 
not only makes the assembling 
easier, but is a better form 
when there are vertical as well 
Fig. 202(6). Music cabinet as horizontal partitions. 




2IO ELEMENTARY CABINETWORK 

CLOCK CASE 

The making of a clock case follows very closely 
in principle the making of the music cabinet. The 
corner posts are longer, and need not be so far apart. 
The enclosed portion may be smaller, but ought to 
be paneled in the same manner. The front, instead 
of being a panel, may be a light door frame filled 
in with glass, and should also be hinged at the side 
instead of at the lower end. 

Sometimes such large clocks are placed in open 
frames instead of in cases, the parts being nailed 
together or so placed as to require little more than 
rough workmanship. This makes a much more sim- 
ple problem but is not satisfactory in the end, as 
such frames do not protect the works and it is diffi- 
cult to keep them clean. Another matter of much 
importance is, that the making of a clock case will 
require considerable time, which will be spent for 
small returns, unless you make a case that has some- 
thing in its construction that is worth learning. 

The first step in making a large clock case is 
to select the works and find out just what size the 
case should be. The fall of the weights will govern 
the length of the posts. 

When you have the data from which to get your 
sizes, make a complete working drawing. Follow the 
same general order in making the parts as directed 
in making the cabinet (Fig. 199). The clock may be 
enclosed the entire length or only about the works. 



SHOE BOX AND COSTUMER 



211 




Shoe box and 
costumer 



SHOE BOX AND COSTUMER 
An excellent design to illustrate the various forms 
of ordinary paneling is shown in Figs. 203 and 204. 
The panels used are described at 
length in Part I under 
the topic head 
"Paneling." 
There is little 
to do in mak- 
ing this project aside N 
from making the 
panels. The panels p^^ ^^ 
may be mitered to- 
gether at all the corners, or the front panel 
may extend to the corner and be secured 
to the edge of the end panel in the same 
manner as the end panel is secured against 
the end of the back panel in Fig. 206. 

The joints at the corner may be either 
glued or secured with round head blued 
screws. The style of hooks and their arrange- 
ment may be varied to suit 
individual requirements. 

The panels may all be of one 
kind. If the back panel is a 
plain sunken panel, the pole 
should be long enough to be 
secured to the bottom cross rail, 

Fig. 204. Shoe box and .. . .1 ^ -i 

costumer as well as to the top rail. 



212 ELEMENTARY CABINETWORK 

Shoe-blacking Outfit. If the piece is intended 
for a shoe-blacking outfit, the cover may be hung as 
shown in Figs. 203 and 204, and suppHed with a foot 
rest. If it is simply for a shoe box, 
the cover should be hung as shown 
in Fig. 205. In this case 
the ornamental brace, 
which supports the cover 
when open, is omitted. 

Method of Making 
Pole. The method of mak- 
ing the pole is similar to 
the one used in making a 
tapered leg. The 
taper should ex- 
tend only to the 
top of the box. 
The pole may be 
much lighter than 
the size given in 
Fig. 206. 

Instead of se- 
curing the bot- 
tom of the box in ^^"- ^°5. Shoe box and costumer 

a groove, it may be nailed and glued into a rabbet 
the same as the bottom of a piano bench (Fig. 192). 
Chest. By omitting the pole and having the 
lid cover the entire top, this design can be made 
into a chest of any desired size. 




SHOE BOX AND COSTUMER 



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Fig. 2o6. Shoe box and costumer 



214 ELEMENTARY CABINETWORK 

In designing boxes or chests with paneled sides, 
the thickness of rails, stiles, and panels, should 
usually be the same as those in Fig. 206. For boxes 
much less in size, thinner stock may be used. The 
difficulty about using rails or stiles less than | inch 
thick is, that the strength of the material at the sides 
of the groove will not be sufficient. When the width 
is less than J inch, there will be places in which the 
strength depends almost entirely on the soft, porous, 
or weaker grain of the wood. This is because the 
annual growth is a somewhat definite quantity, and 
to get a proper amount of strength, the parts should 
be thick enough to include both kinds of grain. In 
woods like basswood this is not so important, as 
there is no marked difference in the grain. This is 
one reason why basswood and other close-grained 
woods are used for articles requiring thin stock. 
The width of the rails and stiles should increase with 
the size of the box. Usually, the bottom rail is 
wider than a stile, and the top rail the same width 
as a stile. This is not essential, but is done to avoid 
using any number of sizes. The use for which the 
box is made determines the dimensions of height, 
width, and length. There are.no set rules. The 
nearer the box is to the form of a cube, the more it 
will hold for the amount of material on the outside. 
Boxes are often made of wide boards dovetailed at 
the corners. Except for small boxes used for toilet 
articles, this is not a suitable problem for school work. 



WALL CABINET 



WALL CABINET 



215 



Wall cases for a variety of purposes may be 
made similar to Fig. 207. By using art glass in the 
doors instead of panels, it becomes a fine plate or 
china case. With mirrors instead of panels, it is 
suitable for a toilet case. 

The size may be altered by changing the dimen- 
sions of each part, either to larger or smaller; or it 




Fig. 207. Wall cabinet 

may be made with one door instead of two, making 
the width but one-half that shown in Fig. 208 a. 

In place of the square rod beneath the case, a 
towel roller may be used. The top may be made 
high enough to hold books, and the interior also may 
be used for books. This size will allow for two rows, 




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WALL CABINET 



217 



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one on the bottom and one on a shelf. The case can 

be easily planned high enough for three rows of 

books. 

Notice that there are no curved parts to perplex 

the maker. The ends are worked in the ordinary- 
way for squaring and jointing. The 
oblique surfaces at each end are lined 
with a knife and the waste material 
is sawed off close to the line, but 
leaving enough to smooth with plane 
and chisel. A scraper may be used 
before sandpapering. Be sure to 
leave the end square across as tested 
from the face surface. 

The rails are first glued to the 
shelves (Fig. 209) and then the 
whole is clamped together (Fig. 210). 
The back should be carefully fitted, 
and should be glued and nailed in 
place before the doors are hung. 
Cases of this type are held rigid by 
the backing, and hence the necessity 
for being careful about fitting it; 
also for securing it so that it will 
not be liable to work loose. 

The making of the doors follows 
the general directions for making 
panels. Directions for hanging the 
doors are found imder the topic head 






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Fig. 208 {h). Wall 
cabinet 



2i8 ELEMENTARY CABINETWORK 

"Hinges," Part III, page 239. In fitting doors a 
common mistake is to fit them too tight. There 




Fig. 209. Cluing rail to sJielf 

should be a small space at both top and bottom, and 
also between the two doors — about -^ of an inch. 




Fig. 210. Gluing together 



LADIES' DESK 



219 



LADIES' DESK 

The chief feature of this desk (Fig. 211) is the 
framework of |-inch stock. This affords an opportu- 
nity to illustrate the process of uniting by doweling. 

The method of doing this work is the same as that 
for doweling 
the footstool 
(Fig. 1 1 3); but, 
because the 
piece is larger, 
some difficul- 
ties will be 
encountered 
that were not 
met with in 
making the 
footstool. 

Probably 
the most im- 
portant diffi- 
culty is that 
of getting the 
pieces out of wind, and of keeping them out of wind 
while putting them together. As dowels are to be 
used, the various pieces are cut to the exact length 
given in the drawing. The ends should be squared 
very carefully, so that there will be no broken edges 
or rounded corners to result in open joints. 




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222 



ELEMENTARY CABINETWORK 



After studying the directions for the dowel joint 
in ''Elementary Woodwork," and the directions for 
doweling the footstool (page 120), you should be able 
to do this doweling properly. Fig. 213 shows the 
arrangement of the dowels, and Fig. 66 how they 
are clamped. The rails and shelf are made and 
clamped in much the same way as were the parts of 

the table (Fig. 185). 
Make the ends 
first, shaping them 
as shown in Fig. 
213. The top is sim- 
ply a large piece of 
paneling, with the 
panel sunk just 
far enough below 
the surface to 
allow for covering 

Fig. 213. End ready for gluing withcloth. 

The two drawers are made the same as others. 
Directions for making them may be found on page 53. 

The part containing the pigeon holes and book 
stalls is made removable, being held in place only 
with dowels. For this purpose two dowels are suffi- 
cient. They should be glued into the top section so 
that w^hen it is removed the top of the desk will be 
smooth. The doors are made the same as panel- 
ing and hung as directed under the topic head 
"Hinges," page 260, 




BOOKCASE 
BOOKCASE 



223 



After a careful study of this aesign (Fig. 214), 
you should be able to design a case to suit your 
own special requirements. The most common modi- 
fication of this design is to make the case only about 
half as wide and use but one door. 




Fig. 214. Bookcase 

The ends may be as shown in the drawing (Figs. 
215, 216, and in Figs. 217 and 218), or they may be 



224 



ELEMENTARY CABINETWORK 



plain |-inch paneling. In very cheap cases, the ends 
are simply wide boards. The back should be well 
made. (See topic "Backing," page 71.) 

In order that the case may be taken apart for 
packing, the various pieces are held in place with 
screws. Fig. 219 shows how the blocks are fastened 




Fig. 215. Bookcase 



BOOKCASE 



225 



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to the top, and Fig. 222 how they are fastened to 
the bottom. Fig. 219 also shows the molding which 
is beneath the top. This molding covers the joint 
at the top of the ends and the upper edge of the lintel. 
If this is done the whole may be packed in a 
space less than half the size of the case. This 
method of construction will also be convenient for 
pupils who wish to avoid the ex- 
pense of drayage, for when the case 
is taken apart no piece will be too 
heavy to carry. However, if the 
knockdown fea- 
ture is not want- 
ed, the case may 
be secured by 
using glue in con- 
nection with the 
screws, or some of 
the blocks may 
be omitted and 
dowels used in 
their place. 






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Fig. 216. Sections of bookcase 



226 



ELEMENTARY CABINETWORK 



Fig. 217. 

A bookcase 

end 



Fig. 220 shows the lintel board with blocks near 
the ends by which it is secured to the sides, the 

strip along part of the 
the upper edge by 
which it is secured to 
the top, and the strip 
along the lower edge 
against which the 
doors strike. 

Fig. 221 shows the 
piece which is placed 
below the doors. This 
piece requires a block 
near each end to secure 
it to the sides, and a 
strip at its upper edge 
to secure it to the 
bottom of the case. 

Shelves. The shelves 
are supported on 
cleats. These cleats 
are supported at their 
ends in semicircular 



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Inside of book' 

case end 



Openings in the edges of strips glued to sides (Fig. 
218). To make these strips, get out a piece of 
material wide enough for all four and square it. 
Draw a line in the center of one side, and lay off 
the spaces for the holes. Bore the holes, and then 
split the piece. Plane both halves, and then rip them. 



BOOKCASE 



227 



Plane the last surface with a hand plane. This 
should result in four pieces exactly alike. 




Fig, 219. Bookcase top 

The directions for making shelves and backing 
will be found under these topic heads in Part I. 




Fig. 220. Lintel piece 

Doors. The doors should be carefully made. 
The joints in most cases should be mortises and 
tenons, but dowels can be used. Some may prefer 
lighter rails and stiles. If they are to be lighter, 



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Fig. 221. Skirting board 

they must be made with greater care and of very 
straight-grained lumber. If narrower stiles are 
used, the doors cannot be hung as shown in 
Fig. 215. 

The directions for hanging the door and fitting 



228 



ELEMENTARY CABINETWORK 



the lock and catch are found in Part III under the 
topic heads "Hinges," "Catches," and ''Locks." 




Fig. 222. Bookcase bottom 



SCREENS 




Fig. 223. Screen 



In Fig. 223 is illus- 
trated one style of 
screen ; the drawing 
(Fig. 224) gives the 
sizes. These may be 
changed to suit any 
individual require- 
ment. The turned 
work at the top may 
be replaced by panel- 
ing, and paneling may 
be used at the bot- 
tom. Some screens 
are made entirely of 
wooden panels of 
various patterns. 



SCREENS 



229 



A very simple and plain screen is shown in Fig. 
225. The bottom rails are f inch thick by 8 inches 
wide; two top side rails are 6 inches wide, and the 
center rail 8 J /r—i — ~^^~~A 



inches wide. 
The center 
panel is 5 feet 
2 inches high. 
There is lit- 
tle to add to 
the general 
directions in 
telling you how 
to make either 
of these screens. 
You may need 
to be cautioned 
to do your 
work excep- 
tionally well 
on thoroughly 
seasoned wood, 
because the 
parts are so 
long that even 
a slight varia- 



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tion may throw the pieces out of square or in wind. 
It is not essential that the stiles and rails be of the 
same size, nor either of them rectangular in section. 



230 ELEMENTARY CABINETWORK 

The stiles may be plain at top and bottom or 
ornamented with turnings. If turnings are used, 

they are made sepa- 
rate with dowels to 
enter holes in the 
ends of the stiles. 

The tapestry or 
other filling may be 
tacked to the stiles 
and rails, or sus- 
pended, on rods 
crossing from stile 
to stile near the 
rails ; or it may be 
stretched on a light 
frame wo rk or 
stretcher, and the 
frame nailed or 
screwed to the stiles 

Fig. 225. Screen and rails. ' 

The most serious difficulty in making a screen 
is to secure pieces for the stiles that are straight, and 
that will remain so. In order to do this, the pieces 
should be ripped from the wide stock several weeks 
before they are to be used. They should be enough 
larger than needed to allow of straightening. After 
one face and edge have been straightened and 
squared, the pieces should be sized. Before begin- 
ning to lay out any of the mortises, carefully select 




FRAMES 231 

and arrange the pieces so that whatever variation 
remains will be eliminated in gluing. 

Hinges. In setting the hinges, place the pieces 
in the position which they will occupy when folded. 
Lay the hinges in place and, by marking at each 
side, determine the width of the space to be cut 
away for them, draw lines across the pieces with a 
try-square and knife, and gauge the thickness of the 
metal at each edge so that after the wood has been 
removed the hinges will be flush with the surface of 
the stile. After inserting one screw in each rail, 
reverse the screen and insert the remaining screws, 

FRAMES 

Methods in Making. Under the heading of 
''Frames," we shall describe the methods usually 
employed in making plain frames for pictures and 
for similar purposes. For such articles, one of two 
methods of joining the pieces is usually employed. 
These are designated as the halved corner (Fig. 
226) and the mitered corner (Fig. 232). Both of 
these styles of joints are described in "Elementary 
Woodwork," and therefore the methods of cutting 
the material at the joints need not be repeated. 
The new problem is how to use four joints in 
a frame so that all will be closely fitted, and the 
frame be of proper shape. 

In such work, when the material is plain and 
straight, the face marks may be at the inside and best 



232 ELEMENTARY CABINETWORK 

(or face) side of the pieces. Certain shapes of mold- 
ing may require the face marks to be on the inside 
and back, or possibly on the outside. These face 
surfaces should be very carefully trued. If they are 
at all in wind, trouble is quite sure to follow. 

Rabbet. One feature of nearly all frames is the 
rabbet at the inside back corner which is to receive 

the glass or picture. 
This rabbet is nearly 
always f inch each 
way. If the frame is 
very thin, the space 
may be less, or in the 
cheap and novel de- 
signs, the picture may 
be placed against the 
back, the rabbet 
being omitted. 

Fig. 227 shows a 
frame of thin stuff, 
the corners halved, 

Fig. 226. Frame ^^^ ^^ rabbet to 

receive glass. After the stock has been jointed and 
marked with the face marks, the beginner should lay 
all the pieces in place (Fig. 228), and mark plainly 
the material to be cut away. In determining this, 
you must decide what pieces are to appear at the 
front at the corners. It is usual to have the 
pieces, which will be vertical when the frame is in 




FRAMES 



233 






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use, full length in 

front, and the hori. F^ 

zontal pieces 

appear to be set 

between them as 

you view the frame 

from the front side. 

This is shown in 

Fig. 226. Place the 

pieces in pairs. 

As there are only 

two of each length, 

it should not be 

necessary to clamp Fig. 227. Frame 

them. Lay off the gains at each end, and draw 

lines halfway across each edge. Set the gauge to 

near the center, and gauge each end, also gauge 

across the ends and on each side the length of the 

gain. The ends are then worked the same as a 

simple halved corner. See ' ' Elementary Woodwork. ' ' 

Clamping. 
In order to 
make the best 
joints, the 
pieces should 
be clamped in 
three ways: 
First, end- 

FiG. 228. Marking gams wisC ; SCCOnd, 




234 



ELEMENTARY CABINETWORK 



sidewise; and third, to force the broad surfaces 
together. In Fig. 229 the clamps beneath hold 
endwise, those on top sidewise, and the four wooden 
handscrews and the two iron clamps hold the broad 
surfaces together. Care must be taken not to set the 
bar clamps too tight, for it is an easy matter to 
make them so tight that the joints will be sprung 
open at the outer end. The other clamping should 

be very care- 
fully done, so 
that the pieces 
will not roll or 
tip, making the 
face surface 
uneven. The 



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clamps beneath 
the frame 
should be level, 
so that the 
frame will not 
be in wind. A 

Fig. 229. Frame m clamps sqUSiVe should 

be applied at two or more of the inside corners, 
to find if the frame is square. This may also be 
determined by measuring diagonally from comer to 
corner. Usually, the frame can be sprung by hand 
until the measurements are equal. Tighten the 
clamps very little until the frame is square, then 
turn up bar clamps and hand screws. 



FRAMES 



235 




In some cases it is easier, when a rabbet to receive 
glass is required, to make the joints first and then to 
cut the rabbet; 
cutting it only 
to the joint. 
This simplifies 
the joining and 
adds but little 
to the work. 
In this case, 
two pieces can 

be worked with ^^"' -°- ^"^^oriug a rabbet 

a plow and two with gauge and chisel. In cutting 
out such a rabbet, the gauge lines should be made 
heavy and then the piece scored (Fig. 230). After 
scoring, the waste material is removed with a chisel. 

Rabbeted Frame Halved. If the frame is rab- 
beted for picture and glass before the joints are 
made, the rabbet should be f inch each way, as 
shown in the end section (Fig. 231). In calculating 
the size, J inch should be added to the nominal 
width and length of the glass to allow for any rough- 
ness, or for either glass or frame being out of square. 

Size. In making such frames, the most serious 
difficulty arises from not making proper allowance for 
the rabbet in laying out the joints. Referring to Fig. 
231 you will see that the two parts at the corners are 
not cut alike. The space between the joints on two 
of the pieces is i inch more than the corresponding 



236 



ELEMENTARY CABINETWORK 



dimension of the glass ; and of the other two pieces, 
the space between the joints is f inch less than 
the corresponding dimension of the glass. Also, 
in order to simplify the joint, the pieces are not 
joined at the center of the thickness, but rather at 
f inch from the back side; in other words, the joint 
is cut even with the rabbet. Although we speak of 
the joint surface being f inch from the back, it should 
be gauged from the side having the face mark, 
whether this be the front or back of the frame. 

After the joint 
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has been properly 
worked, test it in 
the clamps and, if 
correct, glue it as 
shown in Fig. 229. 
In addition to the 
glue, the corners 
may be bradded, or 
one or two screws 
may be used. This 
will help to hold 
the corners in case 
the glue should be 
dampened or otherwise loosened. The halved joint 
may be used in many places. It is usually made in 
one of the two ways shown. Sometimes it is com- 
bined with the miter. Such joints are stronger than 
a plain miter but more difficult to make. 



Fig. 231. Rabbeted ^rame halved 



FRAMES 



237 




Mitered Frames. To make a frame having four 
mitered corners (Fig. 232) requires careful attention 

to every detail. The 
pieces should be 
straight and out of 
wind, and, usually, 
the face mark on the 
inside. Before at- 
tempting to miter a 
frame, plan the 
length of each part, 
Fig. 232. Mitered frame measuring at the 

inside corner of the rabbet. Make the frame f inch 
larger each way than the glass. Line and work the 
joints, fitting each separately as described in making 
the miter joint in "Elementary Woodwork." 

There are many ways of securing the joint, but 
a few methods only 
are of interest to th 
beginner. Nailing 
alone, or nailing and 
gluing, is often suf- 
ficient. Whatever 
method is used it is 
usually the better 
course to secure the 
two diagonally 
opposite corners first, 
and then unite the Fig. 233. Nailing a miter 




238 



ELEMENTARY CABINETWORK 



two halves of the frame so made, unless you have 
clamps sufficient to hold all the corners at once. If 
nails are used, place one piece in the vise and the 
other in the position shown in Fig. 233. If glue is 
to be used, drive the nails in just far enough to keep 
the parts from slipping, then separate the joint and 
apply the glue. - The joint will hold better if sized 
with glue before putting together. It should be 




Fig. 234. Mitered jnniic cLunpcd 

nailed from both directions. The size of nails or 
brads to be used must be determined for each frame. 
The kind of wood has much to do with the size of 
nails to be used. Some woods split so easily that 
nails cannot be used except when holes are drilled 
for them. This may sometimes be done with a brad 
awl, but a hand drill (Fig. 265 or 266) is better. 



HAT RACK 



239 



Another way of securing mitered joints is to 
clamp them as shown in Fig. 234, and to nail a block 
at the back side. This is one of the best ways, 
although the blocks show at the back of the frame. 
Care must be taken to have the joint tight on the 
front side and the block and surfaces against which 
the block is glued very true, or else the joint will 
be drawn out of place. The blocks must not be so 
thin that they will spring and thus open the joint. 

HAT RACK 



This rack (Fig. 235) is a good illustration of 
joining by halving. In laying out the joints the same 
methods are 
followed as 
in laying out 
mortises and 
tenons. Read 
what is said 
under these 
topic heads 
before begin- 
ning to make 
this rack. Be 
particular to 

joint the pieces straight and square on both edges, 
also make sure they are of the same width at each end. 

Lay the pieces in position (Fig. 228) and mark 




Fig. 



240 



ELEMENTARY CABINETWORK 



with an X the material to be cut out, being careful 
to have the joints as shown in the drawing (Fig. 236). 
Remember that if you take pains to draw all of your 
lines according to directions, the joints will be easily 
worked and the pieces go together readily. Such a 
combination of joints is recut or refitted with difh- 
culty, but easily made if correctly lined at first. 




Fig. 236 Hat rack 

Rabbet. The rabbet for the mirror may be lined 
with a gauge and cut out with a chisel. To do 
this, first score the piece, as shown in Fig. 230. 

After all the gains have been cut, try the parts 
together and if you have a sufficient number of 
clamps, glue and clamp all at once ; if not, it may be 
built up by gluing a part at a time. 



HAT RACK 



241 



The ornamental piece at the top should not be of 
one piece with the cross rail, but a separate piece, 
finished to size and glued to the rail either before 
or after the frame is glued together. 

This rack may be modified by omitting the three 
outer rails, by using more hooks, and by changing 
the shape of the ornamental top. Another modifi- 
cation, and one which makes the joinery easier, is 
to allow each piece to project beyond the corner 
(Fig. 237), These pieces may be chamfered, pointed, 
or shaped in some other manner. w^**^A*/^l 

There are man}^ ways in 
which such frames may be 
ornamented. Stock of dif- 
ferent thickness may be 
used, thus making more 
prominent either the ver- 
tical or horizontal pieces. 
Additional mirrors may be 
used in the small border 
spaces. The number of these openings may be 
increased until the framework taxes the ability 
of the best pupil. Panels may be used instead of 
mirrors in all, or a part, of these places. 

The hardware may include a variety of hooks, 
hat-rests, etc. One part which is often neglected 
is the hooks or plates for securing to the wall. These 
should be strong and securely fastened to the frame. 
They are usually 16 inches from center to center. 




Fig. 237. Corner joint 



242 



ELEMENTARY CABINETWORK 



UMBRELLA STAND 



1 



These stands may be made in a great variety of 

forms, from the simple rectangular frames with 
square corner posts to the most 
elaborate combinations of turned 
work and carving. 

Dimensions are given in Fig. 
240 which may be used as a 
basis for the design of a stand 
similar to Fig. 238 or to one with 
square corner posts and rails. 
In making the turned col- 
umns and balls, follow the 
directions given for turning the 
columns and balls of the piano 
bench (Figs. 191 and 198). 

Top and Base. The top and 
base are sawed to near the cor- 
rect diameter and fastened to a 
large wooden facing on the iron 
face plate. 
The under 

side of each should be smoothed 

before fastening to the facing, 

so that it will not require much 

dressing after turning. 

By calculating where the holes 

for the columns are to be bored, * stand top 




Umbrella 



^tand 




UMBRELLA STAND 



243 



the screws can be so placed that the holes which they 
make will not be visible after the columns are in place. 

Fig. 239 shows top fin- 
ished ready to be removed 
from the facing. The base 
is worked in a similar man- 
ner, except that it is cut 
out only enough to receive 
the metal pan. It is neces- 
sary to exercise considerable 
care in boring the holes for 
the dowels at the ends of 
the columns, as a very 
slight variation will throw 
the piece out of shape. A 
very fine modification of the 
vdesign is to use plain col- 
umns slightly curved, the 
top being about J inch 
smaller than the base. There 
should be a small cap and 
also a base. Such columns 
may have a square cap and 
base with top and bottom 
of the stand also square 
or rectangular. Columns, 
rectangular in section L 
but curved and tapered 
in length, may be used. 




M ICS 



W. 3 






Fig. 240. Umbrella stand 



244 ELEMENTARY CABINETWORK 

The more common form of umbrella stands, con- 
sisting of square corner posts and rectangular rails, 
may be made sufficiently difficult problems for some 
high school pupils. Such racks have either dowel 
joints or mortise and tenon joints. No directions 
are required in addition to those for making the 
footstools and chairs. The spacing and width of 
rails may be varied to suit, and vertical slats or 
square spindles may be used. The usual height of 
umbrella stands is from 2 5 inches to 2 7 inches. The 
posts are usually ij inches or i| inches square, 
although they may be rectangular. Where only 
|-inch boards are procurable, the entire stand can 
be made by forming two ends similar to Fig. 212, 
and connecting these with the rails, using dowel 
joints. The parts should extend above the rails 
similar to the stiles in the chair backs. Make a 
complete working drawing before starting to make 
an umbrella rack of any style. 



PART III 
Description of Essentials for Cabinetwork 

TOOLS AND MATERIALS 

Bit Brace Extensions. Of the many kinds of 
extensions for use in bit braces, the straight exten- 
sion (Fig. 241) and the jointed extension (Fig. 242) 
are sufficient for all 
ordinary uses. Many ■«sw5HBaBHHBHHHBH 

first-class mechanics Fig. 241. Bitbrace extension 

are able to do all their work without using either. 
The beginner in cabinetmiaking may find use for 
them in boring holes which have been neglected until 
the parts are fastened together, and which will not 
permit the use of the bit brace without an extension. 
In many cases the ratchet brace will be sufficient 
without an extension. 

The use of these appliances should be avoided by 
boring all the holes before the parts are in place. 

Bits. You are prob- 
ably familiar with the 
auger bits and able to 
bore with them quite 

Fig. 242. Angle extension ^^^^ 'pj^g ^^^is^ ^^^S and 

gimlet bits, though much less expensive and more 
simple in appearance, are even more difficult to use 
successfully. Because there is no spur at the end, 

245 




246 



ELEMENTARY CABINETWORK 




.some pressure is necessary to cause the bit to 
advance, and also because the end does not cut 
perfectly, the bit will frequently 
be forced away from the proper 
position. This is especially true 
in boring such wood as oak, which 
has both a hard grain and a soft 
grain. The shanks of these bits 
bend easily, and the bit will often 
be boring at an angle when the 
^position of the brace indicates 
that it is boring straight. The 
remedy for these difficulties is to 
start the bit carefully and give it 
plenty of time to cut. 
Another difficulty is the drifting of the bit to 
one side in starting. This is caused by the end not 
being a perfect point and in line with the center of 
the bit. In order to watch the bit in starting, it 
is best not to depend upon a mere dot or hole, but 
to draw two 
lines across I 
the point 

where the Fig. 244. Bradawl 

hole is to be bored, so that you can easily see 
whether the bit has started properly (Fig. 243). 

Brad Awl. The brad awl (Fig. 244) is a handy 
tool for use in starting small nails, pins, and brads. 
By experimenting with it you can learn why it is 



Fig. 243. Starting 
gimlet bit 




TOOLS AND MATERIALS 247 

not so likely to split the wood when started with the 
flat end across the grain instead of being parallel 
with it. When you first have occasion to make small 
holes, get a scrap of wood and determine the proper 
way of using a brad awl or you may^injure your work. 

Casters. There is scarcely any form of caster 
that may be desired which may not be found on sale 
somewhere. Although the number of styles and 
sizes is very great, the variety carried by the ordinary 
retail dealer is not large and often very incomplete. 
, As a great deal depends upon the chair or table 
resting properly and being of a proper height, the 
safest way is to get the casters before completing the 
drawings. This also applies to most of the hard- 
ware. Some casters are very prominent and require 
specially shaped ends on the legs ; while some of the 
newest styles of ball-bearing ball casters may be 
sunk almost entirely out of sight. 

It adds greatly to the appearance of chairs (Fig. 
155), and tables (Fig. 188), for the casters to be 
invisible ; but if the casters are to be hidden, the 
legs should be at least an inch longer than where 
the ordinary visible casters are used. Be careful 
also to procure the proper size of casters to sustain 
the weight. Remember that there are casters with 
two wheels and some specially constructed to sustain 
the weight of heavy tables and bookcases. These 
usually have ball bearings or wheels to facilitate 
swinging or reversing. 



24^ 



ELEMENTARY CABINETWORK 




Catches. Fig. 245 shows the ordinary spring 
catch in place. Fig. 246 shows one form of catch 
for the inside of cases having two doors which come 

together. Fig. 247 is 
called a flush bolt. 
It is a nice style and 
is used for the same 
purpose as Fig. 246. 
Clamps. In addi- 
tion to the clamps 
furnished by dealers, 
Fig. 245. Spring catch there are two styles 

which may be made of scrap lumber, and. are quite 
as good for many -uses as the more expensive kinds. 
The first is made by fastening two pieces to a 
board (Fig. 248 or Fig. 71). Notice that one piece 
is placed at an angle, so that the side of the wedge 
will fit tightly against 
the piece which is being 
clamped. Sometimes, 
strips nailed to a rough 
bench and ■ used with 
wedges are sufficient. 
In making the clamp 

shown in Fig. 248 the Fig. 246. Elbow catch 

blocks may be held in place by nails, screws, or 
bolts. If the nails are properly located and prop- 
erly clinched, they will hold about as well as will 
either screws or bolts. 




TOOLS AND MATERIALS 



249 




In locating nails for such work, the grain of both 
pieces should be considered, so that there will be 
little tendency to split. This is 
accomplished by not locating 
two nails in the same line with 
the grain. If the grain is quite 
straight in both pieces, the nails 
should be as shown in Fig. 248. 
The most important part of 
the work in nailing up clamps is 
the bending and clinching of the 
nails. To drive them to place 
and then bend them over, is to 
waste a large part of -their hold- 
ing power. For such purpose 
the nail should be considerably longer than the 
thickness of the combined pieces. For nailing two 
I -inch thick pieces together, the nails should be 3 
inches long. After the point of the nail has passed 
through about § inch, it should be bent down, and 

then the head 
should be 
driven tight 
to the surface 
and laid upon 
a fiat iron 

Fig. 24S. Board damp (Fig. 249). A 

well directed blow on the bent end will turn it down 
and into the wood. The nail should enter so as 



Fig. 247. Flushholt 
catch 




250 



ELEMENTARY CABINETWORK 



to cross the grain, and not be driven so tightly as to 
crush the grains of wood. A still better way, if you 

have a pair of 
strong round- 
nosed pliers at 
hand, is to 
drive the nails 
entirely down, 
and then bend 
the end on a 
curve with the 
pliers so that 
when the head 
hammer used on the 
point, the nail will reenter the wood in a curve 
that will draw very tight and smooth. 

A good deal of judgment is required to know just 
how many nails will give the best result. There 
should be as many as can be used without weakening 
the pieces. In hard wood it is sometimes better to 




Fig. 249. -Clinching nail 

is laid on the iron and the 




Fig. 250. Double board clamp 



::t - "ITT. 

Fig. -51, i 1 'oodcn-bar clamp 



TOOLS AND MATERIALS 251 

bore small holes for the nails. These holes should 

be small enough in each piece to require the nails 

to be driven with considerable force. 
Similar to 

the clamps 

shown in 

Fig. 248 is 

the one illus- 

trated in 

Fig. 250, the difference being that the latter has two 

sides. All the pieces to be clamped in this sort of 

clamp must be placed in position by being stuck in 

from one side, usually one at a time. 

This requires time, but it is the only satisfactory 

way for clamping glue joints when cold glue is 

used, unless you have strong bar clamps at hand 

similar to Fig. 252. 

It is also quite essential that the wedges be 

but slightly tapered — about i inch to the foot is 

sufficient. The clamp should be securely nailed as 

directed in 
making the 
one shown in 
Fig. 248. If 
there is any 

Fig. 252. Iron-bar clamp likelihood of 

glue being squeezed from the joints and sticking the 
work to the clamps, bits of paper should be placed 
between the glue joints and the sides. 




^52 



ELEMENTARY CABINETWORK 



Although the home-made clamps may be used 
with considerable success, the standard screw clamps 



Fig. 253. Chain clamp 

are much better and will save time. Fig. 251 shows 
one of a large class of wooden-bar iron-screw clamps. 
For many purposes these are the best kind to use 
because of their lightness. 

In Fig. 2 5 2 we have a very strong iron-bar clamp, 
which may be used for small glue joints. Fig. 253 
shows a chain clamp. This is probably by far the best 
clamp for use in gluing up table tops and similar work. 
Compass Saw. Remember that the compass saw 
(Fig. 254) is for sawing lines made with the com- 
passes, and for similar uses, and you will not be 

troubled about 
remembering 
its shape; be- 
cause you will 
Fig. 254. Compass saw understand 

that if it is to saw around a circle, it must be 
narrow in order to follow the curve. 

This saw is not only made narrow, but it is made 




TOOLS AND MATERIALS 253 






thick on the cutting, or toothed edge, and thin on 
the back edge. It is also made very narrow near the 
point, so that it can be used near the point for saw- 
ing very small circles. 
It may also be used 
in starting a kerf for the 
side of a hole (Fig. 169). 
As soon as the kerf is 
long enough to receive ^ ^ 

^ ^ , Fig. 255. Corner iron 

the end of a ripsaw, the 

compass saw should be used instead of the ripsaw. 
In sawing circles or curves, the compass saw 
should be moved at right angles to the surface 
(Fig. 97). This saw is not intended for ordinary 
ripping, nor should it be used in place of a handsaw. 
The teeth and form of blade required to make it 
work freely around curves cause it to cut roughly 
and slowly in other places. 

Compass saws are made of various sizes and 

^m^^ their blades are usually 

^^^Vb ^B^^ softer than the blades 

H^^HHhH^jH of handsaws. When 

^^^^^^^^^^^ bent, if proper care is 

taken, they can usualty 
be straightened. 

Corner Irons. In Fig. 

Fig. 2c6. Corner iron 1 -ii 

^ 255 we have an illus- 

tration of the common corner iron for use in fasten- 
ing tops and similar pieces. On page 96 will be 



\^>® 



254 



ELEMENTARY CABINETWORK 




found directions for its use. Fig. 256 illustrates 
a corner iron for heavy work; such as fastening 
benches to the floor, and other similar purposes. 
Countersinks. Of the many styles of counter- 
sinks for use in 
making holes 
for the heads 

Fig. 257. Double-lip countersink r f\n+-]jQPiA 

screws, the double-lipped 5 pattern (Fig. 257) will 
make the smoothest hole. This countersink cuts 
nicely when carefully used, but it must be kept 
sharp and used with care or it will break. Fig. 258 
is a stouter make and does good work; but it will 
not cut as w^ell as 
the 5 pattern. 

Fi^. 2sQ is called Fig. 258. Snail countersink 

a rose countersink, and is suitable for hard wood, 
knots, and metal. If it is to be used for wood, it is 
best not to use it for metal because such use dulls it 
too much to cut wood to advantage. These coun- 
tersinks, though hard enough for brass and soft iron, 

can usually be 
sharpened by 

Fig. 259. Rose countersink careful filing. 

Dowel Rod. The dowel rod is usually made in 
dowel machines. The ordinary sizes vary by six- 
teenths of an inch, from J inch up to f inch. For 
special purposes, it is made both smaller and larger. 

These rods may be purchased in lengths of about 



TOOLS AND MATERIALS 



255 



36 inches, either single rods or in bundles. If much 
doweling is to be done, you would better use the 
machine-made dowels ; but if only a small amount of 
rod is needed, you ought to make it. There are two 
ways in common use for making a dowel rod. The 
best rod is made by following the directions for 
making a cylinder given in "Elementary Wood- 
work. ' ' Another method is to plane the rod to nearly 
the correct size and then drive it 
through an iron plate (Fig. 260). 
This is supposed to leave the 
rod both smooth and of uniform 
Usually it does neither. 
The dowel 
plate may be 
made of steel 
and tempered, 
but it is often 
made of a bit 

Fig. 260. Driving dowel rod q£ scrap iron. 

The holes are drilled and then reamed from the 
back or under side. The upper surface of the plate 
is nearly, or quite, flat. One plate may have holes 
for dowels of different sizes, or the holes may be 
nearly alike so that the dowel rod may be made by 
driving it first through the larger hole and then 
through each smaller size in order, thus reducing 
the rod little by little. This may produce a smoother 
rod but it requires much time. 





256 ELEMENTARY CABINETWORK 

Drawshave. In Fig. 261 is illustrated the com- 
mon form of a drawshave. Fig. 173 shows how it is 
held and used. This tool is ordinarily held as shown, 

and is used 
so that the 
blade cuts 
first near 
one handle 
and then 

near the other; making a shearing cut, the shaving 
curling off. This, however, is but one of many ways 
in which it is held, and the only way to determine 
the best position in which to hold and use it, is to 
try the various positions and thoughtfully test each. 
Escutcheons. These are made in a great variety 
of forms. Some are made to be screwed or nailed to 
the surface (Fig. 
262). The nails 
used for this pur- 
pose are usually 
short with hemi- 
spherical heads, 
and are called 
"escutcheon 
pins.'' Some 

escutcheons Fig. 262. Fancy escutcheon 

(Fig. 263) are made circular in shape so that they 
will fit into a hole made by boring with a common 
bit, and are usually held in place by glue. 




TOOLS AND MATERIALS 



57 




Extension Bits. These bits, though not often 
required, will sometimes save much time. In soft 
wood they work nicely, but in hard wood much care 
must be exercised or they will 
be broken. Keep them very 
sharp, and do not crowd them. 

There are several styles on 
the market. The one illustrated 
(Fig. 264) is best for most work. 
In setting it, use a screw-driver 
with a well shaped end and as 
wide as the screw head so that 
you may not injure the slot in turning the screw. 

Often such a bit may be used to bore at a corner 
and thus avoid the working of the curve with other 
tools. Sometimes ornamental designs are made 
entirely with such bits. The bit will bore quite 
smooth if carefully held. 

Finishing Materials. Ordinary finishing mate- 
rials are not difficult to use. To use the highest 
grades of finish and to produce the best results is 
beyond the ability of those who have only a limited 
time for such. work. It requires practice. 



Fig. 263. Round 
escutcheon 




Fig. 264. Extension hit 

The best plan undoubtedly is to use finishing 
materials of standard make and to attempt only 



258 ELEMENTARY CABINETWORK 

such processes as you are reasonably sure of using 
successfully. Materials for finishing are treated under 
the headings, — "Stains," "Fillers," "Pumice Stone," 
"Rotten Stone," "Varnish," and "Wax." 

Fillers. In order to produce the finest finish on 
wood, it is necessary not only to make the surface 
smooth, but also to fill the pores of the wood so that 
the varnish, or other material forming the finish, will 
lie evenly upon the surface. 

This filling has often been done by using such 
materials as the workman had at hand. Whiting, 
cornstarch, and similar materials have been much 
used. These, of course, must be mixed with some- 
thing to make them hold to the wood, and naturally 
the oil and the turpentine about the paint shop would 
be used to mix the filler. 

For many years such fillers were the sole prepa- 
rations used in many shops. The discovery of new 
materials for this purpose has caused these old-time 
fillers to be discarded by most modern workmen. 

There are several good reasons for the change. 
The newer materials are far better than the. old; 
their proper preparation for use requires an equip- 
ment in machinery not found in small shops; while 
the expense of ready-to-use fillers is no greater than 
that of home-made fillers when all the items are 
considered. The results from using the commercial 
fillers is so much in their favor that they should 
be employed even if they cost much more. 



TOOLS AND MATERIALS 



259 



Modern commercial fillers are of two kinds: 
paste fillers and liquid fillers. Paste fillers are used 
on open-grained woods, and liquid fillers usually on 
close-grained woods. 

In selecting a filler for a piece of woodwork, get 
the advice and directions of the maker or a reliable 
dealer and then use it in exact accordance with 
directions. Do not think that you can judge the 
value of these^ fillers by making a few preliminary 
tests, for some of the characteristics of these- prepa- 
rations are not apparent to the novice until they 
have been on the wood for a long time. 

Hand Drills. There are many varieties of hand 
drills. The best are 
the only ones to buy. 
Their use is so 
obvious that no 
directions are re- 

1 T-r- -1 Fig. 26c. Geared drill 

quired. Keep the 

drills sharp, and use them with care. Be careful 
not to bore the holes for brads too large. The drill 
is to assist the brad in making a hole rather than 
to make the hole full size for the brad. Holes are 
seldom required in the end grain. Fig. 265 is called 
a geared drill, and Fig. 266 a reciprocating drill. 





Fig. 266. Reciprocating drill 



26o 



ELEMENTARY CABINETWORK 




Fig. 267. Plain butt hinge 



Hinges. The styles of hinges which concern the 

beginner in cabinetwork are the plain butt hinge 

(Fig. 267), the surface hinge (Fig. 268), the screen 

hinge (Fig. 269), and the com- 
mon loose pin butt hinge (Fig. 
270). These various forms are 
made in a variety of finishes 
and of both iron and brass. 

In setting, hinges similar 
to Fig. 267, first locate them 
and draw lines with knife and 
try -square for the upper and 
lower ends, marking the length 
as shown in Fig. 271. Do 

this on either the door or jamb but not on both. 

Then with knife and try-square draw lines through 

these points out to the edge (Fig. 272 AA). Also 

draw lines down 

the edge to connect 

with the gauge line 

B when it is drawn. 

Next, set the gauge 

to the center of the 

space (Fig. 273) as 

the hinge is opened 

until the sides are 

parallel. With the gauge set for this space, draw 

lines on the edges of the door jamb or case side as 

shown in Fig. 272 5. This will cause the door to fit 




Fig. 268. Surface hinge 



TOOLS AND MATERIALS 



261 




tightly. If the place for the hinge is too deep, the door 
will not close freely, and is said to be hinge bound. 
If the space is not deep enough, there will be a 
space between the 
door stile and the 
frame jamb or casing. 
The next step is to 
set the gauge for the 
inner edge (Fig. 272 
C). This space is 
determined by sub- 
tracting from the total 

width of the hinges Fig. 269. Screen hinge 

the distance the hinges are to extend out from the 
wood. An easy way to make this calculation is to 
hold hinge and gauge as shown in Fig. 274. 

If the door anH casing, or case side, are to be 

flush, the lines should be 
drawn on both the edge 
of the casing and the 
edge of the door stile, 
with the gauge set for the 
same space. If the parts 
are not to be flush, then 
the difference required is 
Fig. 270. Loose-pin butt hinge determined by the draw- 
ing of these lines. In the wall cabinet (Fig. 207), 
the door is set back J inch from the face edge of the 
side of the cabinet and therefore the lines appear on 




O 



O 



262 



ELEMENTARY CABINETWORK 




the edges of door and side as shown in Fig. 275, the 
space A on the door stile being J inch shorter than 

space B on the side 
of the case. After 
the Hnes are drawn, 
score the wood (Fig. 
230), and then re- 
move the waste, be- 
ing very careful to 
work exactly to the 
lines and exactly to 
the same depth over 
the entire surface. 
The chief difficulty 

Fig. 271. Marked length of hinge in removing the 

waste material is to make the surface exactly square 
back from the edge or parallel with the surface of 
the stile. If this surface is 
not of the same depth at the 
inner edge as at the 
outer edge, the 
hinge will not hold 
the door properly 
no matter how ex- 
actly the lines have 
been drawn. Put 
the hinge in place 
and make holes 
with an awl in the Yig. 272. Hinge space lined 




TOOLS AND MATERIALS 



263 




center of each screw hole. If necessary, enlarge the 

holes with a bit and then insert the screws. 
After both hinges 

are set on either the 

stile or casing, put the 

door in place, being 

careful to have the 

spaces at top and bot- 
tom exactly correct. 

Mark with a knife 

point at each end of 

each hinge (Fig. 276), 

then remove the door 

and draw lines with 

knife, try -square, and Fig. 273. Setting gauge 

gauge for this side of the hinge, the same as shown 

in Fig. 272. Remove the waste as before and 

insert the screws, se- 
curing the door in place. 
Sometimes it is better to 
remove the hinges from 
the first side and fit them 
to the second side before 
attempting to fasten the 
door in place. This makes 
it easier to insert the screws. 
Fig. 277 shows a common 
butt hinge in position. 
Fig. 274. Setting gauge With the loose pin butts 




264 



ELEMENTARY CABINETWORK 



M 




(Fig. 270) the pin may be removed and each part 
secured. The door may then be put in place and 

r^^V^V^ K^ f\ ^A/v * "the pins inserted. 

In such places as 
the top of the piano 
bench and the doors 
of the bookcase, 
where the hinge is 
entirely hidden, the 
hinge is first set on 
the edge of the box 
rJ^^^'^T^ ^ \r ^A/\/S/\l or case side, then the 

Fig. 2JS. Unes on door and casing ^^^ ^^ ^^^^ -^ p^^ 

in place and the location, both of the ends of the 
hinges and of the outer edge, is marked. 

After the lines for the ends have been drawn 
with knife and try- 
square, the hinge 
may be placed in 
position, adjusting 
it to the scribed 
line, and the line 
for the inside edge 
drawn; or a mark 
may be made, the 
gauge set, and the 
line drawn with a 
gauge. The most 

difficult part of this F i g . 276. Locating hinge 




TOOLS AND MATERIALS 



265 




Fig, 277. Butt hinge in 
position 



work is to cut the hole just deep enough. This is 

usually accomplished by a cut and try method. 
The surface hinge (Fig. 

268) is easily set if you are 

careful to locate the center 

of the pin exactly in line with 

the joint between the door 

and the frame or case side. 

Sometimes, however, there 

are reasons for setting the 

hinge a little to one side of 

the joint. The method of 

setting the hinge (Fig. 269) 

is given in the directions for making a screen. 

The loose-pin door butt (Fig. 270) is set in the 

same manner as Fig. 267. 

Locks. The variety of locks is so great that it is 

scarcely possi^ 
ble even to 
'\ classify them. 
The common 
style of lock 
used on book- 
cases and sim- 
ilar objects is 
shown in Fig. 
^^^- ^78- Lock ^^g_ ^j^.3 .g 

an easy lock to set, as it requires the boring of only 
one hole, the cutting out of a small space for the 




Ir^ 



266 



ELEMENTARY CABINETWORK 



bolt and spnng, and a place on the edge of the door 
to bring the lock flush with the surface of the edge 
of the stile. The common mistake is that no 
allowance is made in locating the hole for letting 
this plate, called the selvedge, into the wood, and 
the hole is, therefore, just the thickness of the plate 
too near the edge. 

Remove as little material from the side of the 
stile as will allow the lock to rest properly, for good 
wood is needed to hold the four screws. Sometimes 
the main plate is let in flush with the surface of the 
stile, but this is unusual. 

In setting the plain locks used with an escutch- 
eon like Fig. 262, holes are bored for the key and the 
lock then fastened in place. The escutcheon is the 
last part to locate, and is placed to correspond with 
the pin over which the key slips, or with the keyhole. 

If a roun d 
escutcheon 
(Fig. 263) 
is used, the 
hole for it 
must be bored 
before boring 
the small hole 

Fig. 279. Match plane £qj. -j-j^g ]^gy 

Match Plane. In Fig. 279 is shown a handy and 
simple match plane. Such a plane is useful in match- 
ing the pieces for backs. The grooving side may be 




TOOLS AND MATERIALS 267 

used instead of a plow for grooving the stiles and rails 
around a panel. Use it carefully, and keep it sharp. 
Your chief difficulty in using this plane is to hold it 
vertically. If you do not, the tongue which it makes 
will be too narrow and the groove too wide. As 
there is no side adjustment to the bit, you must 
be particular to grind it square across. 

Mortising Gauge. The mortising gauge (Fig. 280) 
is sometimes used in place of the common marking 
gauge when laying out mortises and tenons. The 
single spur is 
^adjustable 
by moving 
the head of 
the gauge as 

IS done m p^^ ^g^ Mortising gauge 

setting the 

common gauge. In setting this gauge for a mortise 
or tenon, first turn the thumbscrew A at the end of 
the bar (Fig. 280) until the two spurs are the proper 
distance apart, so that you may draw the lines for 
both sides of the mortise at the same time. Then 
adjust the head of the "gauge until the mortise or 
tenon is located at the proper distance from the face 
edge. The tightening of the head of the gauge also 
tightens the small brass sliding bar. 

In laying out such work as chair frames and the 
back for the large armchair (Fig. 153), in which all 
or a part of the pieces are not joined flush, the two 




268 ELEMENTARY CABINETWORK 

Spurs are set to give the correct width of both mor- 
tises and tenons; and then, after drawing the lines 
on one part of the work, the head only is moved to 
adjust the position of the spurs for the other parts. 
This insures the same space between all the lines. 

In the hands of the experienced mechanic the 
mortising gauge is of much value for this kind of 
work, but those not accustomed to the drawing of 
lines on hard wood with gauges, often will find the ' 
effort necessary to make two good lines at the same 

time quite beyond their 

strength. For this reason the 

single spur is apt 

to result in better 

^ joints on your 

first work, even 

though it is not so 

Fig. 281. Plow correct in theory. 

Plow. The plow shown in Figs. 281 and 282 is 

sufficient for the ordinary uses of cabinetmaking. 

There is little need of describing its parts or of giving 

the usual directions for its use. 

The bits should be carefully groimd so that they 
will cut square across, as there is no means for adjust- 
ing them side wise as there is for adjusting the plane 
irons. In using the plow it must be held level, for 
its base is too narrow to keep it square with the sur- 
face of the piece. The fence is also too narrow to do 
more than keep it the correct distance from the edge. 




TOOLS AND MATERIALS 



269 




The tilting of the plow will change the position 
of the bit on the edge and, therefore, in testing to see 
if the groove is being cut at the proper place, care 
must be taken to 
hold the plow 
level. A common 
mistake in using 
the plow is to 
attempt to cut too 
thick a shaving. 
In cutting a thick 
shaving, the sides 
of the groove are Fig. 282. Plow 

likely to be roughened, and it is also much more 
difficult to hold the plow properly. This tool is 
usually supplied with several bits of different widths. 

Pumice StonCo This is a fine grit for use in grind- 
ing varnish and for similar purposes. 

The successful use of grinding preparations de- 
pends almost entirely upon whether you have studied 
carefully the correct use of sandpaper in the ele- 
mentary studies. The grinding of a varnish follows 
the same principles as the use of sandpaper. If, in 
sandpapering, you have rounded corners and dag 
holes, you will find your pumice stone leaving white 
edges and spotting your work. Do not think you 
can overcome the difficulty by using a very fine grade 
of pumice stone, for if you can use any pumice stone 
properly you can use the ordinary commercial grades. 



270 ELEMENTARY CABINETWORK 

The success of your efforts depends upon your 
knowing just what is happening beneath your hand 
as you rub the surface. If you have not learned this 
in sandpapering, you will have considerable trouble 
learning it now. 

Pumice stone may be used with water or oil. 
Dealers supply a special oil, known as rubbing 
oil. The surface may be examined by wiping the 
oil and pumice stone off and holding the surface to 
the light. The rubbing should be continued as long 
as possible without cutting through to the wood. 
The thinner the finish, if it completely covers the 
surface, the better. If the varnish is very rough or 
contains dirt specks, use a little fine sandpaper 
before using pumice stone. The finer the grit, the 
slower it cuts. Use as coarse a grit as you can at 
first, and follow with the finer grades to give the 

proper finish. Do not mix 
the different 
grades by us- 
ing the same 
pad for eacho 
For a polish, 
finish with rot- 

FiG. 283. Rabbet plane ^^^ ^^^^^ 

Rabbet Plane. The rabbet plane (Fig. 283) is 
used for rabbeting out corners and similar work. 
You will have very little use for it in your first project 
in cabinetmaking. You may not need it at all. 




TOOLS AND MATERIALS 



271 



All the directions you need at first is to keep the 
blade sharp and at the correct angle. Be sure to have 
the corner sharp, so that the bit will cut a square 
corner. The blade should not be rounding nor have 
the corners taken off, as is the case with the bench 
planes, jack plane, and smooth plane. Do not 
allow the bit to cut too much at the vertical side. 

Rotten Stone. Rotten stone is used in the same 
manner as pumice stone. For some work, the rotten 
stone is not required, but for fine finishing it should 
be used after the finer grades of pumice stone. 

It is well to use the finer rubbing 
materials on a felt pad, although some 
workmen will ^ f^ 

make a fine 
finish by using 
cotton waste, 
old cloth, or 
similar mate- 
rial which will 

form a pad. Fig. 284. Scraper plane 

Scraper Plane. The scraper plane is a very ser- 
viceable tool. The style shown in Fig. 284 is the 
best for school use. For some pupils this bit is too 
wide because it requires too much strength, and 
must be made quite rounding at the sides. It should 
be straight near the center. 

In sharpening the bits for scraper planes con- 
siderable care must be taken to make the burr 




272 



ELEMENTARY CABINETWORK 



smooth, keen, and even. After it has been dressed 
with a file, it may be improved by rubbing on an oil- 
stone. The burr, when finished, should be heavier 
than on a hand scraper. 

Be very particular not to use the plane when 
the burr is dull. It is only when the burr cuts a 
real shaving freely that it is doing good work. 
The bit is held so rigidly in its frame that it 
may do considerable harm if used with the burr 
in improper condition. Do not attempt to finish 
the work with the scraper plane. After you have 
done what you can to advantage with the scraper 
in the rigid frame, take a light hand scraper and 

go carefully over 
every spot that 
has not been prop- 

FiG. 285. Flat-head wood screw erlv finished. 

Screws. There are two kinds of screws usually 
used on furniture ; the common flat-head wood screw 
(Fig. 285), and the round-head wood screw (Fig. 286.) 
The lag screw (Fig, 287) is not regularly used in cabi- 
netmaking. Its use in furniture is tolerated rather 
than sanctioned. It helps to draw up poor joints 
and to avoid the 
use of mortises 
and tenons. No 

doubt we shall Fig. 286. Round-head wood screw 

see less of it in the manual training • shops as the 
work becomes better understood. The flat-head 





TOOLS AND MATERIALS 273 

screw is made in either iron, steel, or brass, as 
is also the round-head screw. Screws are desig- 
nated both by the size of the smooth portion 
called the shank, and ^_^ 

by the length in inches. I r''**''"*'^4^4J|ib|4i4J|Jb4xw 
They are made in sizes WKHKfflflf^^ 
varying from 00 and ^S 
i inch long to sizes far ^^^- ''^- ^"^ '''''' 

too large for ordinary cabinetwork. Screws 4 inches 
long and in sizes from 18 to 24 are as large as can 
usually be found in the retail stores. 

Some dealers carry a much greater number of 
sizes than others. Long, slim screws, which are 
often very handy for the novice in woodwork, are 
kept by some dealers. 

A flat-head screw should never be used on a fin- 
ished surface where the head will show. Either a 
round-head screw should be used in such a place or 
the head should be sunk far enough below the sur- 
face to permit the hole being plugged with wood. 
Some manufactures save expense by gluing a button- 
like piece of wood over the screw head, thus saving 
both the trouble of counter-boring the hole and of 
finishing off the plug. Such makeshifts do not look 
well on school-made furniture. The round-head 
screw, although used where it will be seen, should 
be used sparingly (Fig. 205). In using screws of 
either kind, or lag screws, they will hold better if a 
hole is made for them and a bit of soft grease placed 




2-74 ELEMENTARY CABINETWORK 

in the hole. This is especially true of screws in end 
grain. In turning screws into the side grain of soft 
wood, it is not improper to drive them a little with 
a hammer before using the screw-driver. 

Spokeshave. Of the many forms of spokeshaves, 

the one shown in 
Fig. 288 is sufficient 
for all ordinary 
^ , , cabinetwork. Un- 

b pokes nave 

less you use it more 
than many first-class workmen who are constantly 
working wood, your chief efforts with it will be to 
keep it from rusting. There are so many better 
ways of doing nearly all the work which the novice 
is likely to use a spokeshave for, that it is undoubt- 
edly better for the inexperienced worker not to 
have a spokeshave where he can make use of it. 

To use the spokeshave for finishing the convex 
sides of rockers, the outside of circles a foot or more 
in diameter, and for rounding corners and edges, 
is to mark your work as that of one who is unac- 
quainted with the best methods. 

Stains. To spend time in mixing stains or in 
extracting colors from their natural sources, is not 
only a waste of time but is certain to yield more 
incorrect suggestions than anything else. 

Information gained in limited attempts of this sort 
is worse than useless. Such efforts are positively 
injurious, and time should not be wasted in them. 



TOOLS AND MATERIALS 275 

It is not the proper place here to name any dealer 
or manufacturer of stains or varnishes, but it may- 
be said that the later efforts of the leading manu- 
facturers have resulted in the production of such 
stains and varnishes as to leave little to be desired. 
Stains may now be obtained which will give excep- 
tionally fine results and yet will not streak or show 
laps, even when applied by the most inexperenced 
student on properly finished surfaces. 

Varnish. There are many kinds of varnish and 
many methods of applying it. If you were careful 
in following the directions for shellacing in your 
elementary studies, you should have no serious 
difficulty in using ordinary varnish on plain surfaces. 
It does not dry as quickly as shellac and there- 
fore, if too heavy a coat is applied, it will move on 
the surface after you have ceased stroking it with 
the brush. Sometimes streaks of varnish run down 
at the comers and joints. This is called crying. To 
avoid this, be very careful about rubbing all the 
surplus varnish away from the joints and from other 
parts where it is liable to gather. 

The thicker the coating the better the varnish, 
is not true, as^some inexperienced in this work sup- 
pose, but rather the opposite. The beauty of a var- 
nished surface is in its perfect smoothness and close- 
ness to the surface of the wood. This kind of coating 
not only shows the wood to better advantage, but 
is also more durable. 



276 ELEMENTARY CABINETWORK 

In order to produce a thin and perfectly smooth 
surface, the varnish is appHed in several coats, and 
then rubbed down. This rubbing is for the purpose 
of making it smooth and for keeping the finish as thin 
as it can be and cover the surface. This is accom- 
plished by grinding off the surface until all the raised 
places have been lowered to the depressions. 
Although the skilled workman may apply several 
coats before doing any rubbing, it is far better for 
the beginner to rub each coat carefully. In grinding 
off the first coats of varnish, it is usually impossible 
to reduce the surface to perfect smoothness, for if the 
grinding were continued long enough to cut down to 
the bottom of all of the depressions, the varnish 
would be entirely removed from some places, or "cut 
through" as it is termed. Therefore, the coating is 
ground only as thin as appears safe, and then 
another coat is applied. This, in turn, is ground to 
as good a surface as conditions will permit. This 
process of coating and grinding is continued until the 
required evenness of surface is produced. 

Rubbing. After each coat the surface becomes 
more refined, and therefore finer grinding materials 
are used. At first a coarse sandpaper may be all 
that is required, but later pumice stone is used. 
This is followed by rotten stone, and this some- 
times by even finer grinding materials. (Read topic 
heads "Pumice Stone," "Rotten Stone," "Fillers^* 
and "Finishing.") 



TOOLS AND MATERIALS 277 

These finer materials are not required by the 
beginner, for the surface they are capable of giving 
can be obtained only by those thoroughly under- 
standing the methods of such work. 

Not only do the later coats of varnish require 
finer abrasive materials, but the coating material 
may also be of finer quality. The fillers and first- 
coaters often used are quite different from the var- 
nishes, and the varnishes also may differ in grade. 
The extent to which this selection and refining of 
materials may be carried is known only to the expert. 
For most workmen a good filler followed by two or 
three coats of varnish represents their standard 
grade of work. Some may use different grades of 
varnish, but the greater number use the same varnish 
for each of the two or three coatings. 

Preparing Surface. There is one other item 
that affects the varnishing which is often overlooked, 
and that is the preparation of the surface to receive 
the varnish. The wood should be polished with 
scraper and sandpaper before any finishing material 
is applied, as every mark, torn grain, or other rough- 
ness is likely to be much more visible after the surface 
is varnished, it should be smoothed as thoroughly as 
possible. Do not undertake to varnish any kind or 
design of work, but select for such finish only pieces 
that are free from corners or spaces into which the 
brush cannot work smoothly. This caution is espe- 
cially needed if you are expecting to polish the 



278 ELEMENTARY CABINETWORK 



^ 



varnish, for the polishing cannot be done well by an 
inexperienced person unless the piece is quite free 
from corners and narrow spaces. 

Problems 83, 90, 188, and* 191 are especially 
adapted for polishing, as they are planned to be 
entirely finished while the parts are separated. 

Wax. Following the stain, or a coat of filler to 
fix the stain, wax may be used. This wax may be 
any of the commercial compounds, or it may be the 
home-made mixture of beeswax and turpentine. In 
either case, it is rubbed on to the surface with a 
cloth, and then rubbed smooth and glossy. The 
chief difficulty in producing a fine wax finish is that 
the wood has not been properly smoothed nor the 
stain properly applied. The wax is not to take the 
place of scraper or sandpaper, and unless the wood 
surface is properly prepared the waxed surface will 
not be satisfactory. 



INDEX 



The figures refer to pages 



Backing: 71; fastening backs, 
72; imitation paneling, 73; 
solid backs, 73; three kinds 
of, 71 

Balls: 205, 243 

Bench: piano, 198-205 

Blocks: glue, 203 

Bookcase: 223 r doors, 227; 
shelves. 226 

Bookcases: 56, 71-2, 223,226-27 

Book racks and taborets: 99; 
another taboret, 117; book 
rack corners, 99; laying 
out mortises and tenons, 
100; notches for the legs, 
112; round top taboret, 107; 
taboret, 104; tops, 106; 
wedges, 103 

Cabinetmaking: equipment for 

elementary, 9- 11 

Cabinet: music, 206-9 

Cabinet: wall, 215-18 

Cabinetwork : description of 
essentials for, 245 

Cabinetwork : general direc- 
tions for, 9-98 

Cabinetwork: tjrpe forms of, 
99-244 

Case: clock, 210 

Chairs: 133; knockdown arm- 
chair, 162; large armchairs, 
154, 160; rush seat, 139; 
suspended leather seat, 146; 
upholstered, 152; wooden 
seat, 136; woven leather 
seat, 144 

Chairs: 17, 21, 25, 31, 33. 
35. 69-71, 79, 84, 86, 91-3, 
95, 133. 136, 139. 144, 146, 
152, 154, 162 

Chair and stool legs: 35; 



chamfering, 43 ; different 
kinds of, 35; fifth class, 42; 
finishing ends, 42 ; fourth 
class, 42; rectangular, 37; 
rounded end, 44; tapered, 
37; tapered end, 44; third 
class, 39 

Chamfering: 25, 28, 42-4, 66, 
103, 182 

Chest: 212 

Clamping: 84; adjusting pres- 
sure, 85; clamping sections, 
95; diagonal clamps, 93; 
preliminary clamping, 88 ; 
squaring with clamps, 88; 
tightening clamps, 87; use 
of clamps, 84 

Clamps and clamping: 18, 21, 
23, 26, 28, 31, 33, 62-4, 71, 
8|-8, 93, 120, 158, 179, 192, 
202-3, 222, 233, 248-52 

Clock case: 210 

Columns: 200, 243 

Compasses: 100, 109 

Compass saw: 100, 109, 174, 
252-53 

Construction: keyed, 33, 196 

Costumer and shoe box:'2ii-i4 

Curves: 125-27, 235, 240-41 

Description of essentials for 

cabinetwork: 245 
Desk: ladies', 219-22 
Directions: general, 9-98 
Doors: 206, 217-18, 222, 227, 

260 
Dowels and doweling: 35, 46, 

62, 116, 119-21, 123, 157, 

167, 182, 193, 204, 219-22, 

254-55- 
Drawers: the making of, 53-5 
Drawers: 53-5, 183, 188-89, 222 



VI 



INDEX 



1 



Ends: finishing, 42 

Equipment for elementary cab- 
inetmaldng: 9; care and use 
of tools, 9 

Essentials for cabinetwork: de- 
scription of, 245 

Face marks : 11,18 
Fastening tops to frames: 96; 

boring holes, 98; buttons, 
97; corner irons, 96 

Finishing ends: 42 

Footstools: 120; dimensions, 
120; doweling, 121; flower- 
pot stand, 124; gluing, 123; 
mortises, 124; oblong foot- 
stool, 127; rush seat, 130; 
upholstered, 124 

Footstools: 28, ^^, 35, 91, 120, 
124, 127, 130, 145 

Frames: fastening tops to, 96-8 

Frames: 231; clamping, 233; 
methods in making, 231; 
mitered, 237; rabbet, 232; 
rabbeted frame halved, 
235; size, 235 

Frames: 25, 79, 96, 141, 203, 
231. 237 

Gauging: 17, 22-3, 27, 30, 33, 
40, 100, 103, 111-12, 114, 
121, 157, 174, 177, 179, 233, 
267 

General directions: 9; backing, 
71; chair and stool legs, 35; 
clamping, 84 ; equipment for 
elementary cabinetmaking, 
9; fastening tops to frames, 
96; making of drawers, 53; 
making of tops, 57; mor- 
tises and tenons, 14; panel- 
ing, 45 ; patching and plug- 
ging, 74; planing, 67; selec- 
tion and arrangement of 
material, ii; shelving, 56; 
smoothing, 79; veneering, 69 



Glue blocks: 203 

Glue joint: 57 

Gluing: 47, 49, 57, 62-3, 65, 70, 
77. 79. 83-5, 88, 94, 97, 119, 
^23, 156, 158, 166, 174, 179, 
188, 191-92, 202-3, 205, 217, 
236-38, 240, 251. 

Hall seat: 165; clamping, 167; 
directions for making, 165; 
the seat, 168 
Hat rack: 239; rabbet, 240 
Hinges: 163, 231, 260, 265 
Holes: boring, 30-1, 46, 75, 
97-8, 112, 115, 117, 119, 
121-22, 157, 170, 172, 176, 
205, 224-25, 238, 242, 25T, 
254, 256, 259, 262-63, 265-66 

Joint: glue, 57 

Joints and jointing: 13, 15, 42, 

45. 52-4, 57. 59-60, 62-3, 
72, 80, 88, 97, 103-4, 120, 
154, 156, 183, 189-91, 211, 
231. 234-35. 227, 236-39,251 

Keyed construction: 33, 196 

Ladies' desk: 219 

Lag screw: 117, 229 

Legs: 31, 35, 37, 39, 42-3, 91, 
106, 111-12, 116, 118, 122, 
125, 128, 132, 134, 160, 164, 
172, 176, 18s, 185, 191, 197, 

237 
Legs: chair and stool, 35-44 

Making of drawers : 53 ; bottom, 
55; front, 54; kinds of 
joints, 53; sides, 54 

Making of tops: 57; allowing 
for waste, 58; applying the 
glue, 6;^; clamping, 62; glue 
joints, 57; hexagonal, 66; 
jointing, 59; octagonal, 66; 
quarter-sawing, 58; wide 
tops, 65 



INDEX 



VII 



Marks: face, ii, i8 

Material : selection and arrange- 
ment of, 11-14 

Materials and tools: 245-78 

Mitering: 237 

Mortises and mortising: 14, 17, 
28, 30-1, 45-6, 79, 100, 124, 
132, 146-47, 176, 192, 267 

Mortises and tenons : 1 4 ; dowel- 
iiig. 35; keyed construction, 
33; laying out tenons for 
chair frames, 25; length of 
slats, 23 ; methods of joining, 
14; mortises for chair backs, 
17; mortises for footstools, 
28 ; mortises in chair legs, 3 1 ; 
tenons, 16; tenons for chair 
backs, 21; testing a mor- 
tise, 30 

Music cabinet: 206; shelving, 
206 

Paneling: 45; best methods of, 
45 ; elevated panel, 51 ; flush 
panel, 49; forms of panels, 
49; plain panel, 49; plow- 
ing the groove, 46; raised 
panel, 5 1 ; securing the panel, 
47 ; two important meth- 
ods, 45 

Panels and paneling: 45, 46-7, 
49, 51, 206-7, 211, 222-24, 
228-29, 241 

Patching and plugging: 74; 
method of, 74; plugging, 78; 
the taper, 76 

Piano bench: 198; a plain 
design, 198: box, 201; col- 
umns, 200; glue block, 203: 
molding, 203; rails, 204 

Planes and planing: 42, 51, 58, 
60, 61, 67, 70, 79-80 

Planing: 67; cross, 67; sprung 
pieces, 69 

Plugging and patching: 74-8 

Quarter sawing: 58 



Rabbet and rabbeting: 53, 128, 
130, 202, 232, 235, 240, 270 

Rack: hat, 239-41 

Rails and stiles: 9, 21, 24, :^3, 
46-7, 50, 52, 122, 125, 127-28, 
130, 132, 134, 136, 139, 
146-48, 152, 156-58, 160, 
163, 183, 188, 193, 204, 206, 
217, 222, 227, 229-30 

Sandpapering and scraping: 

43, 49. 69, 81, 83-4, 127, 169, 
175, 201-2, 217. 269, 271 

Sawing: quarter, 58 

Scoring: 235 

Scraping: 81 

Screens: 228; hinges, 231 

Screw: lag, 117, 229 

Screws: 73, 78, 87, 106, 116-17, 
142, 170, 172, 207, 234, 236, 
272 

Seat: hall, 165-68 

Seats: 130, 136, 138, 141, 144, 
146, 165, 168 

Selection and arrangement of 
material: u; face marks, 
1 1 

Shelves: 57, loi, 107, 115-16, 
175, 178-79, 189, 226 

Shelving: 56; adjustment of 
shelves, 56; selection of 
material, 56 

Shoe box and costumer: 211; 
chest, 212; method of mak- 
ing pole, 212; shoe blacking 
outfit, 212 

Sighting for wind: 65, 89-90 

Smoothing: 79; planing, 79; 
removing glue, 83 ; sand- 
papering, 83; scraping, 81; 
when to smooth the surface, 

79 
Spokeshave: no, 230 
Stains: 14, 230 
Stand: umbrella, 242-44 
Stool and chair legs: 35-44 
Superposition: 27 



VIII 



INDEX 



Surfaces: 13, 37, 40. 42, 44-5. 
52, 63, 65, 67-8, 70, 79, 81-3, 
104, 175, 258, 276 

Tables: 66, 69, 106, 169, 174, 
180, 183, 186 

Tables: 169; drawing, 169; 
leather top, 180; library, 
186; light, 183; round top, 

174 
Taborets and book racks: 99- 

120 
Tenons: 14, 16, 17, 21, 25,45-6, 
79, 86, 100, 128, 134, 146-47, 
176, 178, 192, 205, 267 
Tenons and mortises: 14-35 
Tools and materials: 245; bit 
brace extensions, 245 ; bits, 
245; brad awl, 246; casters, 
247; catches, 248; clamps, 
248; compass saw, 252; 
corner irons, 253; counter- 
sinks, 254; dowel rod, 254; 
drawshave, 256; escutch- 
eons, 256; extension bit, 257; 
fillers, 258; finishing mate- 
rials, 257; hand drills, 259; 
hinges, 260; locks, 265; 
match plane, 266; mortising 
gauge, 267; plow, 268; pre- 
paring surface, 277 ; pumice 
stone, 269; rabbet plane, 



270; rotten stone, 271; rub- 
bing, 276; scraper plane, 271 ; 
screws, 272; spokeshave, 
274; stains, 274; varjiish, 275; 
wax, 278 

Tops: making of, 57-67 

Tops: 57-8, 65-6, 69-72, 96, 
106-7, 124, 127, 132, 169, 
172, 174, 177, 180, 186, 
197-98, 242 

Type forms of cabinetwork: 
99; bookcase, 223; book 
racks and taborets, 99; 
chairs, 133; clock case, 210; 
footstools, 120; frames, 231; 
hall seat, 165; hat rack, 239; 
ladies' desk, 219; music 
cabinet, 206; piano bench, 
198; screens, 228; shoe box 
and costumer, 211; tables, 
169; umbrella stand, 242; 
wall cabinet, 215 

Umbrella stand: 242; top and 
base, 242 

Veneering: 69; end grain, 69; 
gluing, 70; preparing the 
surface, 70; sizing, 70 

Wall cabinet: 215 

Wedges: 103 

Wind: sighting for, 65, 89-90 



NOV 3 190§ 



